Sigma « 360Photography

RSS

Posts Tagged ‘Sigma’

Gear of the Year 2019 – Carey’s choice: Sigma 45mm F2.8

06 Dec

Photo: Dan Bracaglia

Sigma’s 45mm F2.8 DG DN Contemporary lens is, in many ways, not a great lens for pixel-peepers. It exhibits some fringing, it isn’t particularly sharp, and it has a pretty pedestrian maximum aperture. But I really enjoy it anyway, and it’s served as a reminder that any given lens doesn’t have to be perfect to be fun.

I first got to shoot around with the 45mm F2.8 Contemporary on a trip to Japan for the release of Sigma’s fp, their staggering 35mm F1.2 Art, and the newly designed 14-24mm F2.8 Art. No surprise, the little 45 mil was easily overshadowed by its headline-grabbing brethren. But during my time on that trip, it was glued to the a7R III I was using while traveling from one locale to another. The biggest reason for that is that the lens itself is so small.

Sigma fp | ISO 160 | 1/100 sec | F4

Small gear is unobtrusive and far less intimidating for subjects, and this definitely has an impact on the way I take pictures: namely, I take more pictures of people when I’m working with less intimidating gear. I also just tend to take pictures more often, as I’ll always have a smaller camera and lens combo slung over my shoulder, whereas larger gear is more likely to be tucked away in a bag when I’m not actively using it.

We’ve touched a bit on the Sigma 45mm’s image quality at the outset out of this article, but I’d like to backpedal a bit. The biggest ‘issue’ with it is uncorrected spherical aberration, essentially trading-off some sharpness for more attractive bokeh: a deliberate decision on Sigma’s part. And I have to admit that there’s something about its rendering that I find appealing. I also appreciate its very close minimum focus distance, which helps you get shallower depth-of-field than you might expect with an F2.8 aperture, though images get a bit hazy if you’re focusing very close with the aperture wide-open.

Sony a7R III | ISO 100 | 1/320 sec | F2.8
Taken with a pre-production lens

And then there’s the build quality. The 45mm Contemporary is not weather-sealed, which is a big disappointment; especially considering how well it pairs with Sigma’s fp, which is very well-sealed throughout. But the lens still has a premium feel, with its all-metal build. The focus ring is so perfectly damped that I fiddle with it all the time even though I’m exclusively an autofocus kinda guy, and the aperture ring has just the right amount of clickiness to it. Autofocus is very fast, and works well with the DFD technology in Panasonic’s S1-series of cameras.

There is room in the market for less ‘serious’ tools that are still excellent in actual use

I think my main grumble concerns the price. It’s currently still hovering around its launch price of $ 559 USD, which is unequivocally a lot of coin for a slow, non-weather-sealed prime lens that has, perhaps, a bit more optical ‘character’ than people may expect nowadays.

Sigma fp | ISO 100 | 1/125 | F8

On the other hand, I’m pleased that Sigma is making it. It’s a company with a portfolio chock-full of glass that was created with size and weight considerations taking a back seat to optical excellence. There is room in the market for smaller, lighter, less ‘serious’ photographic tools that are nonetheless engaging in actual use. That’s the type of tool the Sigma 45mm F2.8 is, and I hope it’s not the last lens of its type we see from Sigma.

Sample gallery

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_3585230725″,”galleryId”:”3585230725″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });
Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Sigma confirms Log picture profile, Raw over HDMI coming to its fp camera via firmware update

27 Nov

In an interview with Cinema5D, Sigma confirmed it’s bringing a firmware update to its full-frame fp camera that will add Log picture profile and Raw recording over HDMI.

The interview with Takuma Wakamatsu, Sigma’s product planner, took place during Inter BEE 2019. In the interview, Wakamatsu addresses a number of features that have already been confirmed to be on the horizon, such as in-camera CinemaDNG playback and still photo modes while recording video, but he also confirmed a future firmware update will include a Log picture profile in MOV mode and Raw recording over HDMI.

The Log picture profile should improve the dynamic range of the fp and offer more flexibility in post-production, while Raw recording over HDMI would allow external recorders, such as the popular Atomos Ninja V, to record ProRes RAW footage.

No specific timeframe is given for the firmware updates, but Cinema5D notes the updates will arrive in 2020 and be free of charge.

Our previous coverage of the Sigma fp includes a look inside the Aizu factory where it’s assembled, a video-centric hands-on and a photo gallery of images captured with the world’s smallest full-frame camera.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

News: Sigma Will Produce Canon RF Lenses (With More to Be Revealed in 2020)

25 Nov

The post News: Sigma Will Produce Canon RF Lenses (With More to Be Revealed in 2020) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

News: Sigma Will Produce Canon RF Lenses (With More to Be Revealed in 2020) Earlier this week, Canon Rumors reported that Sigma has created a roadmap for Canon RF lenses and that this roadmap will be unveiled in “early 2020.”

According to Canon Rumors, “distributors have received some early information about Sigma’s plans,” though nothing has been released to the public.

While Sigma’s plans have not yet been confirmed, this is excellent news for full-frame mirrorless Canon shooters, Canon DSLR shooters who may be making the switch to mirrorless, and just mirrorless fans in particular. The more RF-mount lenses available, the better (and the more attractive Canon’s full-frame mirrorless system becomes).

Of course, Canon produces its own RF line, and there are always debates about Sigma’s quality versus Canon’s quality. But it’s nice to have additional options, and Sigma has proven itself quite capable over the last few years.

Furthermore, this addresses one of the biggest complaints regarding new mirrorless systems: the number of lenses available. For Canon RF shooters, it’s frustrating to have to wait for a robust lens lineup to materialize, so Sigma’s participation will undoubtedly help things along. Plus, there are plenty of Canon DSLR photographers who have held back due to the limited number of lenses in the RF line. Sure, Canon offers EF to EOS R adapters, but most photographers want lenses that are designed to take advantage of their camera system’s features.

Not to mention another great thing about Sigma glass: It’s cheaper than Canon glass. Much cheaper.

This has become especially relevant given the high price points of several Canon RF lenses. The Canon RF 50mm f/1.2L USM currently goes for $ 2000+ USD, and the Canon RF 28-70mm f/2L USM is just shy of $ 3000 USD.

While there are no rumors regarding a Nikon roadmap, this certainly makes you wonder if and when one will be coming. So Nikon shooters, stay tuned. And Canon shooters, you’ll hopefully have some great lens options coming your way!

The post News: Sigma Will Produce Canon RF Lenses (With More to Be Revealed in 2020) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School

Comments Off

Posted in Photography

Sigma 14-24mm f/2.8 Lens for Sony – Thoughts and Field Test

22 Nov

The post Sigma 14-24mm f/2.8 Lens for Sony – Thoughts and Field Test appeared first on Digital Photography School. It was authored by Suzi Pratt.

The Sigma 14-24mm f/2.8 lens is a brand new ultra-wide-angle zoom lens intended for full-frame mirrorless cameras. Launched in August 2019, this lens follows in the footsteps of the Sigma 45mm f/2.8 prime lens. Similar to that lens, the Sigma 14-24mm is available for Sony E-Mount cameras, or L-Mount mirrorless cameras made by Panasonic, Sigma, and Leica. It is currently the widest and fastest full-frame zoom lens made for Sony E-Mount, with FE 12-24mm f/4 as the closest match.

In the DSLR world, the 14-24mm f/2.8 lens is no stranger. Nikon made its own version, and Sigma has been making this lens for full-frame DSLRs for a while now. But the 14-24mm focal range is indeed for special use cases, with most photographers preferring the 16-35mm range to meet their wide-angle needs. Tamron echoes this sentiment with the recent release of the 17-28mm f/2.8 E-Mount lens. So what sets the 14-24mm lens apart, and who is this lens for? Read on to find out!

Sigma-14-24mm-f-2-8-Lens-for-Sony-review

Technical specs

The Sigma 14-24mm has a maximum aperture of f/2.8 and a minimum aperture of f/22. It offers a 114.2 degree to 84.1-degree angle of view and has a minimum focusing distance of 11 inches (27.94 cm). This is an autofocus lens that also offers manual focus at the flip of a notch. There is no image stabilization or vibration reduction, making it unideal for video. It is on the larger side with dimensions of 3.35 x 5.16″ and a weight of 28.04 ounces. But it is slightly narrower and lighter in weight than its DSLR counterparts.

This lens is also weather-sealed, but the front lens element is curved and thus cannot be protected by standard screw-on UV filters. On that note, you also cannot use screw-on ND filters or polarizers with this lens either.

Currently, the lens retails for $ 1,399.00 USD. It’s not cheap, but it does cost less than the Sony FE 12-24mm f/4 and the Sony 16-35mm f/2.8.

Sigma-14-24mm-f-2-8-Lens-for-Sony-review

Pros

Ultra-wide focal range

The biggest benefit of this lens its ultra-wide focal range. If you’re shooting in tight spaces or want to cram as much visual detail as possible in your image, this is the lens to use. It’s perfect for shooting architecture, real estate, or landscapes. However, ultra-wides can also be tricky to work with due to distortions (more on that below).

Solid build quality

Sigma declares this lens to be dustproof and splashproof (in other words, semi-weatherproof). The front lens also has a coating that repels water and oil. Given the heft of this lens, it indeed feels like it could withstand various outdoor environments, but I wouldn’t take it into a downpour.

Nice bokeh effects

With a relatively fast f/2.8 aperture, this lens is much faster than its wider yet slower cousin, the 12-24mm f/4. However, ultra-wide lenses are typically used for landscape and architecture, when you’ll be shooting an f/9 or f/11 to get as much of your scene in focus as possible. So whether you really need the f/2.8 aperture depends on what kind of photos you intend to shoot.

While ultra-wides are not a standard portrait or subject photography lens, the f/2.8 gives you a nice background blur if you prefer shooting wide. The smooth bokeh is thanks to the 11 rounded diaphragm blades, an increase to the 9 blades found in previous models.

Sigma-14-24mm-f-2-8-Lens-for-Sony-review

Cons

Large and heavy

Pretty much all f/2.8 lenses are larger and heavier than their slower counterparts, and this lens is no exception. It’s a big and bulky lens that you likely won’t use for casual travel photography, not just because of its size, but because the front element is completely exposed.

Distortion

All wide-angle lenses face the challenge of decreasing the amounts of barrel or pincushion distortion. In other words, the wider the lens, the more likely your vertical lines won’t be straight.

The Sigma 14-24mm handles this moderately. At its widest focal length, there is indeed some barrel distortion. For certain scenarios such as astrophotography or landscape photography, this is less of an issue. But for real estate, architecture, or anything that requires super straight vertical lines, this lens may not be the best choice.

You can, of course, attempt some perspective control in Photoshop.

Can’t use standard filters

As mentioned earlier, the front curve of this lens prevents standard ND filters or polarizers from being used. Sigma does say that the lens comes with a rear filter holder, but you would need to invest in this specific type of filter to make use of it. Standard filters that screw onto the front of the lens would not work.

Sigma 14-24mm f/2.8 Lens for Sony – Thoughts and Field Test

Who is this lens for?

All in all, the 14-24mm f/2.8 is a specialty lens. At its widest focal length, there is typically quite a bit of barrel distortion. This makes for extra post-processing work for those trying to shoot real estate or architecture, but perspective control has improved in post-processing software.

While barrel distortion is less of an issue for landscape or astrophotography, this lens doesn’t allow you to attach screw-on ND filters and polarizers that are often needed when shooting outdoors. Sigma declares that the 14-24mm f/2.8 is intended to be “the definitive lens for astrophotography.” Unfortunately, it is not the season for night sky photos, so I was not able to test this aspect of this lens.

With all of that said, the image quality is fantastic. This lens produces tack-sharp images with excellent colors. It just requires a bit of extra work in post-production to make up for some of its shortcomings.

Would you buy this lens? Let me know in the comments below!

Sigma 14-24mm f/2.8 Lens for Sony – Thoughts and Field Test Sigma-14-24mm-f-2-8-Lens-for-Sony-review

Watch Suzi’s video review

The post Sigma 14-24mm f/2.8 Lens for Sony – Thoughts and Field Test appeared first on Digital Photography School. It was authored by Suzi Pratt.

Digital Photography School

Comments Off

Posted in Photography

Sigma rumored to be ‘actively working on’ RF-mount lens road map for 2020 announcement

21 Nov

According to a report from Canon Rumors, Sigma is ‘actively working on an RF-mount lens roadmap’ and is expected to announce its plans sometime in ‘early 2020.’

Canon Rumors’ report, which comes from an unnamed source, goes on to say that distributors have received early information regarding Sigma’s plans, but no specific information regarding potential lenses or launch dates was divulged.

Canon Rumors only ranked this rumor a ‘[CR2]’ (with [CR1] being very unlikely to happen and [CR3] being most likely to happen), so while it’s down the middle in validity it’s worth taking with a grain of salt. Still though, Canon Rumors suspects the announcement would be made ahead of CP+ in February if it were to be made at all.

Sigma offers nearly all of its EF-mount Global Vision Lenses for Nikon’s F-mount as well, so it wouldn’t come as a surprise if this purported lens roadmap from Sigma would also apply to Nikon’s Z-mount cameras too, considering the similarities in mount designs. However, much like the roadmap itself, this is purely speculation.

We have contacted Sigma for a comment and will update this article accordingly if we hear back.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

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

16 Nov

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

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

Below is the announcement press release in its entirety:

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

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

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

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

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

Additional features:

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

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

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

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Review: Sigma 35mm f1.2 ART Lens for Sony E-Mount

14 Nov

The post Review: Sigma 35mm f1.2 ART Lens for Sony E-Mount appeared first on Digital Photography School. It was authored by Anabel DFlux.

Considering the amount of articles I’ve written about shallow depth of field, it is safe to say that anything wider than f/1.8 is my sweet spot. However, Sony has found itself severely lacking in my favorite fast aperture: f/1.2. Well, my friends, Sigma has come to save the day with the brand new Sigma 35mm f1.2 ART Lens for Sony E Mount! It’s the fastest autofocus lens available for Sony mirrorless cameras to date.

I had the pleasure of taking this lens out for a spin on my Sony A7r IV and Sony A7r III and making all of my creamy bokeh dreams come true.

Lens build

Sigma-35mm-f1.2-ART-lens-review

Upon first glance, this lens is large and heavy. Many people wouldn’t realize this is a wide-angle 35mm focal length. The weight is a bit daunting when you use a mirrorless system, especially since one of the big selling points of mirrorless is the small size of the camera. However, the benefit of mirrorless is that all you’re carrying is the weight of the lens, which I don’t mind.

The weight of the Sigma 35mm f/1.2 ART lens is very worthwhile. The following are the reasons why.

In true ART fashion, the lens is solid, sturdy, and what I’d consider shock-resistant. Give it a bump, you’ll see (no, please don’t do that intentionally!). The lens features a dust and splash-proof structure with additional water and oil-repellent coating on the frontmost surface of the lens. I can personally attest to these, having already taken this optic out in some dire conditions. I put lenses through the wringer, and if they can’t survive me, they aren’t a worthy build!

Also, akin to the ART line is the beautiful glass that is vibrant, sharp, clear, and perfect. It’s very reminiscent of the Canon L-series glass, which I was obsessed with, and was thrilled to find similar in the Sigma ART line.

Lens features

Sigma-35mm-f1.2-ART-lens-review

If you’re a native Sony G-Master user who picks up the Sigma 35mm f1.2 ART lens for the first time, you’ll likely see a familiar feature – an aperture ring. This smooth and easy to use manual adjustment of the aperture is quite a useful feature (especially for those who dabble in video and cinema).

Additionally, what’s really interesting about this lens is the ability to click/de-click the aperture ring, allowing complete silence or clicks to let you know you have turned the ring.

The inclusion of the AFL button adds to the lens’s functionality as you can assign it to various operations.

Lens communication

Sigma-35mm-f1.2-ART-lens-review

You don’t invest thousands of dollars on a camera like the Sony Alpha to not use those features, yes? So why would you grab a lens that isn’t compatible? You just don’t. As such, my deal breaker is whether or not the Sigma 35mm f/1.2 ART lens can speak the Alpha’s native tongue (being a non-Sony-brand lens).

Well, the answer is one that I certainly hoped for: The Sigma is fluent in Sony speak!

As one of the first ART lenses designed exclusively with mirrorless in mind, it’s communication with the popular Sony mirrorless system is key (considering the lens only comes in Sony E mount and L mount). All autofocus features (including eye-tracking [human and animal] and AI autofocus) translate brilliantly between the camera body and optics.

Autofocus

Sigma-35mm-f1.2-ART-lens-review

First of all, the autofocus of the Sony Alpha 7r IV and 7r III are just fantastic. Paired with this lens that is great at communicating with the camera, and you have a recipe for winning. My photo sessions have been so much smoother as a result.

Autofocus has been fast, accurate, and a dream. I have had a hard time putting this lens down, and can always find at least one excuse to bring it along for the ride.

I’ve gone as far as to shoot canine sports with it, even though a focal length of 35mm requires me to get closer to my subject than I’d usually like. However, it’s well worth it for that creamy bokeh, because canine agility fields tend to be quite cluttered with obstacles (which makes for a busy frame without the bokeh).

Whether your subject is running at you, away from you, or to the side, there is no discrepancy in autofocus.

Sharpness

Review: Sigma 35mm f1.2 ART Lens for Sony E-Mount

Edge to edge sharpness doesn’t even begin to describe how crystal clear the Sigma 35mm f/1.2 ART lens is. If I closed my eyes, I’d swear I was shooting with Canon L glass. The ART glass has been truly tremendous, especially in recent lens releases.

I found that my subject was just as sharp in the center point as any corners. This is great for those that want to take advantage of the 35mm focal length width and do some off-center frames.

The full-frame capability gives it a further wow factor. When attached to my Sony A7r IV – a 60+ megapixel camera – the images viewed on a massive print-calibrated 4k screen equals some jaw-dropping moments. Pairing tack sharpness with this lens’s visual sharpness results in an image that would make even the ultimate pixel peepers happy. From my own use, I’d say peak sharpness was around f/2.0 – f/2.8.

What you see is what you get, as the sharpness translated to prints beautifully.

Bokeh

Review: Sigma 35mm f1.2 ART Lens for Sony E-Mount

You don’t buy an f1.2 lens not to use it at its widest aperture! It took a bit of effort on my part to ever take it off f/1.2.

The bokeh is creamy, beautiful, and completely effortless. The subject separation is superb, and the client’s response to these magical images is pure bliss. I loved using this lens with cluttered backgrounds as the distraction smoothed away. Even when the aperture is widened to f/2.8, the bokeh continues to be smooth and satisfying.

There is some slight vignetting at the corners, but I quite enjoy this look and add a bit more of it in post-production. Those photographers that are miffed by vignetting may not be too thrilled. However, the 35mm wide focal length does allow for a wee bit of cropping so you can remedy that situation with some corner snips.

The bokeh balls produced with the Sigma 35mm f1.2 lens are very smooth and lovely. You won’t find yourself trapped with no onion-ring bokeh in the editing room, as seen in many other types of similar lenses.

Chromatic aberration

Review: Sigma 35mm f1.2 ART Lens for Sony E-Mount

Much to my positive surprise, I have not experienced any chromatic aberration or fringing with this lens – even on extremely contrasting subjects. This tends to be a common problem with very wide apertures. Whatever magic Sigma did to this particular lens clearly works because I have yet to encounter fringing.

With that said, I’m not saying there isn’t going to be fringing in some peculiar situations, but just that I have not yet personally encountered it. I have encountered fringing immediately with several f/1.4 and f/1.8 lenses from Sony (even the G-Master), unfortunately.

Pros

Review: Sigma 35mm f1.2 ART Lens for Sony E-Mount

Fast and beautiful f/1.2 wide aperture.
Full-frame lens.
Physical aperture ring with click/de-click switch.
Excellent communication between Sony E-mount cameras and this Sigma lens.
Beautiful creamy bokeh with no onion-ring issues.
Fast autofocus and vibrant output.
Little to no chromatic aberration.
Price is still very competitive, despite being in the four-digit range.

Cons

Sigma-35mm-f1.2-ART-lens-review

Heavy, bulky, and large for a 35mm lens (especially on a mirrorless system).
Only available in Sony E-Mount and in Sigma/Leica/Panasonic L-Mount (the lens is designed exclusively for mirrorless systems. Some may see this as a con if they don’t own a mirrorless system).

Conclusion

Review: Sigma 35mm f1.2 ART Lens for Sony E-Mount

Sigma 35mm f/1.2 Art Lens Review: Conclusion

My final thought is simple: “this lens will be permanently attached to one of my mirrorless cameras.” The investment is well worth the amount of use you’ll likely get out of this lens, even if you don’t shoot at extremely wide apertures such as f/1.2. I have always found it more worthwhile to invest in lenses that grant you more options and versatility rather than less.

The Sigma 35mm f/1.2 Art Lens can easily become a staple of any kit, with an incredibly vast array of uses from portraits, pets, events, fine art, and everything in between. With the popularity of prime lenses, this one is definitely a top contender.

Have you used the Sigma 35mm f1.2 ART Lens? Share your thoughts with us in the comments below!

The post Review: Sigma 35mm f1.2 ART Lens for Sony E-Mount appeared first on Digital Photography School. It was authored by Anabel DFlux.

Digital Photography School

Comments Off

Posted in Photography

Hands-on: The Sigma fp is shaping up to be an impressive camera for video pros

13 Nov

Hands-on with the Sigma fp

The Sigma fp is the world’s smallest full-frame camera. Built as a hybrid stills / video platform, the fp is highly modular and packed with features that many stills photographers would find esoteric in the extreme. The fp has clearly been designed with filmmakers in mind, and after using one for a few days, we suspect that they’ll love it.

Hands-on with the Sigma fp

Measuring 112 x 70 x 45mm and weighing only 422g (just shy of one pound) with a battery and memory card, the aluminum-bodied Sigma fp is a very small, very light camera, considering its sensor format. We’re told that fp stands for ‘fortissimo pianissimo,’ which Sigma is interpreting as ‘very loud and very soft’. One way of interpreting that is ‘a lot of power in a small package’.

Sigma has achieved the fp’s compactness in a couple of different ways. Firstly, the body is the core of a very modular system. There’s no built-in viewfinder, no integral flash, and no grip. Leaving these things out means some serious space savings, and furthermore there’s no in-body stabilization, and no mechanical shutter, either. The fp is all electronic shutter, all the time. This has one major advantage for stills photographers – totally silent shooting – but a couple of disadvantages: a very slow maximum flash sync speed, and the potential for rolling shutter (‘jello effect’) and banding in some lighting conditions.

Hands-on with the Sigma fp

From behind, you can get an idea of the fp’s minimalist ergonomics. The rear of the camera is dominated by a large, touch-sensitive LCD, with only four direct control buttons to the right, plus a control wheel / 4-way controller. The accessory grip adds a protruding thumbrest but without this, the back of the camera is essentially flat. Below the screen you’ll find five more buttons, mainly geared to video shooters.

Because the form factor of the fp is essentially a flat-sided rectangle, with barely any protuberances anywhere, it’s easy to incorporate into a video rig.

Hands-on with the Sigma fp

This view shows the interesting design of the accessory grip, which is formed from a single curve of metal. It also shows off the fp’s very simple upper control layout. A control dial and integrated shutter button, a ‘REC’ button and a very simple ‘Cine | Still’ toggle for fast switching between capture modes. In a nice touch, when the switch is set to ‘Cine’, the switch moves to expose a bright red painted backing, providing quick visual feedback that the camera is set to record video, even when it is powered off.

Also visible in this shot is a row of vent holes, above the rear LCD. More on those in a moment.

Hands-on with the Sigma fp

Here’s the fp without the accessory grip attached. The grip, straps and tripod socket all use 1/4-inch threads, which makes modifying the camera pretty simple and gives videographers multiple attachment point options for incorporating the fp into a cage or shoulder-mounted rig.

Hands-on with the Sigma fp

Here are those same vent holes viewed from the base of the camera. The fp is passively cooled, via a large heat sink designed to dissipate heat away from internal components and out of the camera. The system is ‘passive’ to the extent that it does not rely on mechanical fans to do so, hence it will not create any operational sound: a potential issue when shooting video.

The vents do not lead directly to any of the fp’s delicate innards. As such, if dust or moisture make their way into them, it doesn’t present a problem. The fp is fully weather-sealed at 42 points, and Sigma is confident that the fp should stand up under use in poor weather.

Hands-on with the Sigma fp

The fp does not feature an integrated hotshoe, and Sigma has opted not to make an optional EVF. Instead, for cinematographers that really need a viewfinder, there’s the LVF-11 finder, which attaches physically to the rear screen and offers a 2.5X magnification, for precise focus and composition adjustments in (say) bright ambient light.

While not as flexible as a true electronic finder, for video work the LVF-11 works very well, and the additional stand-off distance from the back of the camera actually ends up being very useful when the fp is built up into a multi-module rig…

Hands-on with the Sigma fp

…a rig like this Zacuto one, where as you can probably imagine, the close proximity of the LCD screen to the operator’s face would make focusing on composition and focus very uncomfortable. With the LVF-11 attached, the operator can both hold the camera and look through the finder in a comfortable working position.

Hands-on with the Sigma fp

This rig demonstrates the fp with an optional HU-11 hotshoe adapter attached, allowing for the addition of a range of accessories, such as an external microphone, or of course a flash (assuming you can live with the 1/30sec max flash sync speed).

It also shows a Samsung T5 SSD drive (right) attached to the fp via USB 3, into which 12-bit CinemaDNG Raw video can be recorded directly.

Hands-on with the Sigma fp

Here’s the USB port, alongside the HDMI port and mic socket. The six gold connectors are proprietary, and carry power to the accessory hotshoe unit.

Hands-on with the Sigma fp

According to Sigma CEO Kazuto Yamaki, the fp was developed on the basis of knowledge gleaned from the creation of Sigma’s ‘Cine’ range of Art-series prime lenses. The 35mm T1.5 is shown here, dwarfing the fp. But cine primes are typically heavy things, and every ounce saved from the total setup is precious, especially for filmmakers working with shoulder-mounted rigs.

Hands-on with the Sigma fp

We’ve only had a full production-quality fp for a few days, but that’s long enough to form some preliminary impressions. Right now, we’re pretty positive for the most part, with some caveats. Stills photographers might be a little shy of it at first (I did find myself really wishing for a conventional finder, and I’d personally take a bigger body for the sake of IBIS) but with one of the optional grips attached, the fp handles pretty well. The most serious handicap for stills shooting is likely to be rolling shutter, which does introduce distortion in some situations, albeit not to a problematic extent in many shooting scenarios.

Although the fp uses a contrast-detection autofocus system, it is reasonably fast and responsive (with the L-mount 45mm F2.8 and 14-24mm F2.8 attached) and finds faces and eyes fairly quickly and accurately, assuming your subject is facing the camera. That said, overall autofocus performance is definitely a step behind the best of the mirrorless competition, with noticeable lag (for example) when placing the desired AF point by touch.

Hands-on with the Sigma fp

Realistically though, the fp is a video camera that can shoot stills – not the other way round. And video pros have a lot to be excited about. In the fp, Sigma is courting them pretty aggressively, with features like HDR video (coming via firmware), 12-bit Raw video output to an SSD and ‘Directors’ Viewfinder’ which allows filmmakers to simulate the different viewing angles and fields of view of other popular video cameras for framing.

So that’s the fp, coming soon to a store near you for an MSRP of $ 1,800. With the potential to be a seriously powerful tool for filmmakers, along with some solid stills photography features, the fp is an interesting prospect, and a bold move for Sigma. Watch out for more analysis – including a detailed look at its video capabilities – soon.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Sigma fp gallery: photos from the world’s smallest full-frame camera

08 Nov

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_0600752649″,”galleryId”:”0600752649″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

The Sigma fp claims the title of ‘world’s smallest full-frame camera,’ offering a 24.6MP sensor in a svelte body that’s not much bigger than your standard compact camera. It’s equipped with plenty of features to keep a serious videographer happy, but we’re also interested in its still photo quality. Take a look at our first shots with Sigma’s surprising little full-framer.

See our Sigma fp sample gallery

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

All-new Sigma 24-70mm F2.8 DG DN Art coming to E and L-mount

06 Nov

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_7122062206″,”galleryId”:”7122062206″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Sigma has announced the newly developed 24-70mm F2.8 DG DN ‘Art’ for Sony E and Panasonic/Leica/Sigma L-mounts. The new lens joins the previously-announced 14-24mm F2.8 DG DN Art as the second of Sigma’s DN, or ‘Digital Native’ zooms designed from the outset for full-frame mirrorless.

The new 24-70mm has a total of 19 elements, including low dispersion, special low dispersion and aspherical glass. Sigma’s ‘Super Multi-Layer’ and ‘Nano Porous’ coatings have been applied to reduce flare and ghosting. Autofocus is driven by a stepping motor and the lens can focus as close as 18cm (7.1″).

The new 24-70 is weather-sealed, features a brass bayonet mount and uses 82mm filters. The L-mount version weighs in at 835 grams (1.8 pounds), with the E-mount version coming in a few grams lighter.

You can get your hands on the 24-70mm F2.8 DG DN Art lens in just a few weeks. Pricing has yet to be disclosed, but it will naturally be compared against Tamron’s popular 28-75mm F/2.8 Di III RXD, which retails for $ 850.

Press release:

Sigma Announces New 24-70mm F2.8 DG DN Art Zoom Lens for Full Frame Mirrorless Cameras; Available in Sony E-mount and L-mount

Sigma Corporation today made the following announcement:

Launch of the 24-70mm F2.8 DG DN Art Zoom lens for full frame mirrorless cameras, leveraging the top-level Art zoom performance, featuring:

Best-in-class optical performance
Compatibility with the latest full-frame mirrorless camera bodies
Flexibility for various uses and photographic environments

Sigma 24-70mm F2.8 DG DN Art Lens

This second newly-designed Art zoom lens from Sigma is a large-aperture standard zoom for full-frame mirrorless camera systems and is available in Sony E-mount and L-mount. The Sigma 24-70mm F2.8 offers best-in-class performance due to a sophisticated optical design that delivers high resolution throughout the entire zoom range. This new Art zoom lens from Sigma follows the debut of the lauded 14-24mm F2.8 DG DN Art zoom for mirrorless cameras.

The Sigma 24-70mm F2.8 DG DN Art lens exerts superiority in mirrorless camera-dedicated designs, resulting in a reduced lens size and weight while achieving uniformity and high resolution from the center to the periphery throughout the zoom range. Compatibility with the latest mirrorless camera bodies and functions assists in various photographic environments and meets the high demands of both professional and advanced amateur photographers.

Key features include:

Best-in-class optical performance. The F2.8 Art flagship zoom lens series is developed to achieve superior optical performance. By employing three aspheric lenses, this zoom lens thoroughly subdues aberrations such as axial chromatic aberration or sagittal coma aberrations, which are difficult to correct in post-processing, tailors the resolution and achieves uniformity and superior optical performance from the center to the periphery throughout the zoom range. In addition to Super Multi-Layer Coating, Sigma’s proprietary Nano Porous Coating is employed to achieve high-contrast and clear image quality. This lens is designed to be less affected by strong incident light such as flare.
Ensuring compatibility with the latest full-frame mirrorless camera bodies. The Sigma 24–70mm F2.8 DG DN ensures compatibility with various types of the latest full-frame mirrorless camera bodies for Sony E-mount and L-mount, (including the new Sigma fp camera), capable of exerting the best performance under any photographic circumstances.
Flexibility for various uses and photographic environments. Featuring a dust and splash-proof body and zoom lock mechanism for preventing the lens barrel from extending unexpectedly, the 24-70mm F2.8 meets a wide range of needs for a variety of photographic environments. The maximum magnifications are 1:2.9 at the wide-angle end and 1:4.5 at the telephoto end, which provides a wider range of expression for close-up photography. The minimum focusing distance is 18 cm at the wide-angle end.

Additional features:

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

The Sigma 24-70mm F2.8 DG DN Art will be available in L-mount and Sony E-mount in mid-November 2019 through authorized US dealers. Pricing will be announced at a later date.

For full product details and technical specifications as well as press imagery, please refer to the official press release here.

More details are available at: http://www.sigma-global.com/en/lenses/cas/concept.

Sigma 24-70mm F2.8 DG DN Art specifications

Principal specifications
Lens type	Zoom lens
Max Format size	35mm FF
Focal length	24–70 mm
Image stabilization	No
Lens mount	Leica SL, Sony FE
Aperture
Maximum aperture	F2.8
Minimum aperture	F22
Aperture ring	No
Number of diaphragm blades	11
Optics
Elements	19
Groups	15
Special elements / coatings	6 FLD + 2 SLD + aspherical elements, Super Multi-Layer and Nano Porous coatings
Focus
Minimum focus	0.18 m (7.09″)
Maximum magnification	0.34×
Autofocus	Yes
Motor type	Stepper motor
Full time manual	Yes
Focus method	Internal
Distance scale	No
DoF scale	No
Physical
Weight	835 g (1.84 lb)
Diameter	88 mm (3.46″)
Length	123 mm (4.84″)
Materials	Magnesium alloy
Sealing	Yes
Colour	Black
Zoom method	Rotary (extending)
Power zoom	No
Zoom lock	Yes
Filter thread	82 mm
Hood supplied	Yes
Tripod collar	No
Other
Notes	Weight and dimensions for L-mount version

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized