Art series lenses, first of all, have always been characterized by high image quality. At the same time, a number of these lenses were usually noticeably inferior to other series of the company in terms of autofocus speed, price or moisture protection. However, the right photographers value them. In a recent announcement, as many as 3 lenses from this popular series were presented, some of which were exceptional and even unique in some ways.

Sigma 135mm F1.8 DG HSM Art

First of all, this is a 135/1.8 lens, aimed at portrait photography from a fairly long distance. Considering its aperture, this lens will be of interest to all demanding photographers who strive to blur the background into mush. The lens features excellent bokeh and the ability to create a very sharp foreground. A new high-speed focusing motor is installed here, which is also equipped with an acceleration sensor, which optimizes the operation of the motor when moving. This lens can also be used when shooting in low light conditions, when you need to take highly detailed photographs at a distance. At the moment, only one of the direct competitors of this lens is faster - the Nikon 105/1.4, which has a shorter focal length and is designed for only one system, while Sigma is available in several mounts.

Sigma 14mm F1.8 DG HSM Art

The second lens announced is the 14mm, which is the world's first lens with such a focal length and such aperture. It uses the same aspherical elements that have already been developed in the widely recognized Sigma 12-24/4. The result of using such optical technologies provides ideal sharpness from center to edge, and at the same time the lens has the largest, by optical industry standards, molded optical element with a diameter of 80 mm. As a result, the lens is an ultra-wide-angle prime lens with virtually no distortion or flare. The optical design also includes 3 ultra-low dispersion elements and 4 low dispersion elements, which ultimately significantly reduce chromatic aberrations. The new lens also features a fast supersonic AF motor. At the same time, the minimum focusing distance of the lens is 26 centimeters, which provides photographers with the opportunity to shoot almost point-blank to the subject to obtain the effect of perspective distortion.

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

The third lens is a 24-70 with built-in image stabilization. The new lens is largely based on the first version of the 24-70/2.8 Art, however, it adds an image stabilization system developed specifically for it. In this regard, its performance is significantly improved, and given the new autofocus motor, it is an extremely functional tool. At the same time, the lens meets Sigma standards in terms of sharpness and background blur. This lens is a universal standard lens, with which the photographer will shoot most of the scenes. The optical design includes three low-dispersion elements and four aspherical elements, which significantly reduce chromatic aberrations. The aspherical elements of the new lens are made thicker than competitors' solutions. Optical manufacturing ensures precision polishing and superior image quality. The lens body is made of metal and high-strength composite materials, designed to prevent elements from shrinking and expanding due to temperature differences.

100-400mm F5-6.3 DG HSM OS Contemporary

The fourth lens was a lens that does not belong to the Art line, this is 100-400/5-6.3 Contemporary. This lens is an economical version of a superzoom lens that is easy to use and at the same time quite compact and light in weight for its optical characteristics. At the same time, the lens is dust and moisture resistant. The lens also features a new stabilization system and fast autofocus. In combination with these characteristics, this lens ensures correct operation at lower shutter speeds to obtain sharp, detailed images. The lens also has a macro switch that allows you to shoot at a 1:3.8 ratio. As a result, this lens produces excellent macro photographs and photographs with the ability to compress perspective.

When Sigma released its first fast fifty-kopeck lens a few years ago, many photographers gave a very unequivocal assessment of what had happened: a third-party manufacturer encroached on something sacred - creative optics with an individual design, for which “branded” high-aperture primes were traditionally famous. However, it turns out that signature design is not as important to modern photographers as sharpness. The new lens was different for her!

And optically identical fifty-kopeck pieces, released with different mounts, began to sell like hot cakes. And if so, Sigma thought, then why not set its own tone in this market segment? Why is Sigma worse than Carl Zeiss? And in 2014, the company created its second fifty-kopeck piece, now as part of the branded ART series. This series combines creative optics with outstanding performance. Today this lens - Sigma 50mm F1.4 DG HSM Art - is in our editorial office. Let's see what he's capable of? Its cost, size and weight clearly indicate that you can expect very interesting results from this fifty dollars!

I started talking about weight for a reason: 815 grams is a lot for a full-frame prime. Even the super-fast Canon EF 50mm f/1.2L USM weighs one and a half times less. And the filter thread diameter of the lower-aperture Sigma is larger: 77 versus 72 mm. Japanese engineers apparently decided not to skimp on glass and metal. The lens is well assembled, looks solid, and feels good in the hands. The only things that are made of polymer materials are the autofocus switch and the rubber pad on the focusing ring. Everything else is blackened metal. In a word - a thing! But the Sigma 50mm F1.4 DG HSM Art does not have moisture protection. In any case, it is not stated in the characteristics of the lens.

We put Sigma 50mm F1.4 DG HSM Art on the camera. Sigma 50mm F1.4 DG HSM Art is currently available with Sigma, Canon EF, Nikon F, Sony A mounts. In this test I will use a Canon EOS 6D camera. The camera has a relatively simple phase detection autofocus module, albeit with a very tenacious center point. However, there are no problems when focusing on any points. The lens with the camera has not undergone any additional adjustment or adjustment, and yet it is clearly in sharp focus across all autofocus points even at an open aperture. There are no complaints about the focusing speed. The built-in HSM motor moves the lens lenses quite quickly. I would say that in focusing speed there is complete parity with branded fifty-kopeck cameras with the same aperture. There is no yaw or idle runs back and forth even when shooting with very difficult lighting. In Live View mode, working with the Sigma 50mm F1.4 DG HSM Art is also no different from shooting with branded lenses.

If you want to focus manually, keep in mind that the focus ring travel is small. For photos this means almost nothing, but smooth refocusing when shooting video will not be as easy as, for example, with non-autofocus Carl Zeiss. The minimum focusing distance is the usual 40 cm for fifty dollars. This is not enough for macro photography, but you will definitely be able to photograph flowers with a beautifully blurred background.

Canon EOS 6D / Canon EF 35mm f/1.4L SETTINGS: ISO 100, F1.4, 1/4000 s

The first thing you notice when viewing footage from the Sigma 50mm F1.4 DG HSM Art is the sharpness. It is high compared to branded counterparts. No, not even that: this is one of the sharpest fifty dollars on the market! When I started shooting with it, I tried to close the aperture a little out of habit, trying to avoid the soft effect inherent in high-aperture optics. It turned out that it was in vain: you can safely shoot with an open aperture and get sharp pictures. Of course, aperture gives some increase in detail, but it is achieved to a greater extent by increasing the depth of field. Across the entire field of the frame, the Sigma 50mm F1.4 DG HSM Art is relatively sharp even at an open aperture. We can say that at f/2 the sharpness across the entire field of the frame is sufficient to resolve the Canon EOS 6D matrix.

Canon EOS 6D / Canon EF 35mm f/1.4L SETTINGS: ISO 100, F1.4, 1/320 s

Canon EOS 6D / Canon EF 35mm f/1.4L SETTINGS: ISO 100, F1.8, 1/200 s

Canon EOS 6D / Canon EF 35mm f/1.4L SETTINGS: ISO 100, F2, 1/160 s

Canon EOS 6D / Canon EF 35mm f/1.4L SETTINGS: ISO 100, F2.8, 1/80 sec

Canon EOS 6D / Canon EF 35mm f/1.4L SETTINGS: ISO 100, F4, 1/40 sec

Sharpness is perhaps the main advantage of this model. You get a reliable and predictable working tool that will provide technically high-quality images in almost any conditions. For example, I was invited to photograph several pre-holiday and holiday Easter services in one of the churches near Moscow. The lens made it possible not to think about lighting at all: not during the day, not in the evening, not even at night. Take a handheld portrait at night by candlelight? No problem!

Canon EOS 6D / Canon EF 35mm f/1.4L SETTINGS: ISO 10000, F1.4, 1/160 s

Canon EOS 6D / Canon EF 35mm f/1.4L SETTINGS: ISO 200, F1.8, 1/40 sec

Back lighting does not spoil the quality of pictures: glare and flare are not formed. You will certainly find chromatic aberrations in photographs. But their level will be extremely low for a high-aperture prime. Moreover, you need to take into account that this lens is not “native” to the camera, and during in-camera JPG conversion, chromatic aberrations are not suppressed in software. In post-processing, you can easily reduce their already low level to almost zero.

Canon EOS 6D / Canon EF 35mm f/1.4L SETTINGS: ISO 100, F1.4, 1/160 s

Things are going well with vignetting. It is noticeable only at f/1.4 and f/2, and even then the level of corner darkening is relatively low. So, it turns out, why such a gigantic front lens diameter for fifty dollars was needed.

Vignetting test

Canon EOS 6D / Canon EF 35mm f/1.4L SETTINGS: ISO 100, F1.4, 1/640 s

Canon EOS 6D / Canon EF 35mm f/1.4L SETTINGS: ISO 100, F2, 1/320 s

Canon EOS 6D / Canon EF 35mm f/1.4L SETTINGS: ISO 100, F2.8, 1/160 s

Canon EOS 6D / Canon EF 35mm f/1.4L SETTINGS: ISO 100, F4, 1/80 sec

Canon EOS 6D / Canon EF 35mm f/1.4L SETTINGS: ISO 100, F5.6, 1/40 sec

Canon EOS 6D / Canon EF 35mm f/1.4L SETTINGS: ISO 100, F8, 1/20 sec

Perhaps the only controversial point is the nature of the design of this lens. The bokeh is so regular and soft that it even becomes a little boring. Yes, the highlights have an even filling and are devoid of contrasting edges, with rare exceptions. The “scale effect” or ghosting in the bokeh is also not visible. But there is also no magical effect that expensive branded legendary primes such as the Canon EF 85mm F1.2L USM can sometimes give to photographs. The Sigma 50mm F1.4 DG HSM Art lacks its own recognizable design. This is simply a fix that softly and correctly blurs the background, which once again proves a simple truth: it is very, very difficult to combine ideal sharpness and unique bokeh in one lens.

Canon EOS 6D / Canon EF 35mm f/1.4L SETTINGS: ISO 160, F1.4, 1/160 sec

Canon EOS 6D / Canon EF 35mm f/1.4L SETTINGS: ISO 160, F1.4, 1/125 s

conclusions

The Sigma 50mm F1.4 DG HSM Art is the sharpest full-frame fast prime we've ever tested. Already at an open aperture it gives such sharpness that many of its competitors have never dreamed of. This is a true masterpiece of optics, embodying the victory of modern technology over all possible distortions. From a technical point of view, it provides flawless images. Vignetting and chromatic aberration are kept to an absolute minimum. The only subjective disadvantage of this model is the not very expressive, although correct, bokeh. But this is the price to pay for ideal characteristics.

We recommend this lens primarily to all wedding and reportage photographers due to its extreme sharpness wide open. Sigma 50mm F1.4 DG HSM Art will help you once and for all forget about the problem of lack of light, allowing you to take excellent pictures already at an open aperture. However, the lens will cope well with any other genre, but only if you are willing to put up with its considerable weight.

Pros:

• highest sharpness with an open aperture;
• extremely low level of chromatic aberrations;
• high contrast;
• very slight vignetting;
• fast autofocus;
• hood and belt pouch included.

Minuses:

• correct but expressionless bokeh;
• large size and weight.

Sigma has released three new lenses in its premium “Art” line: two primes and one zoom. All three lenses are designed for full-frame DSLRs from Canon, Nikon and Sigma. The first is the ultra-wide-angle 14mm F1.8 DG HSM, and Sigma claims it's the world's first F1.8 ultra-wide-angle lens. The second is a 135mm F1.8 DG HSM telephoto lens that offers the resolution needed for 50MP or higher DSLRs. The third is the Sigma 24-70mm F2.8 DG OS HSM Art zoom, it has three SLD and four aspherical elements, 9 rounded aperture blades and optical image stabilization. Pricing and availability for all three lenses have not yet been announced.

SIGMA 14mm F1.8 DG HSM | Art

SIGMA Corporation is pleased to introduce the world's first (as of February 2017) 14mm F1.8 ultra-wide-angle lens for full-frame cameras. The new lens is the seventh full-frame prime in the Art line, and it will have no equal in shooting starry skies and scenes with a wide perspective. Where F2.0 was, now F1.8 is not enough, destroying all barriers. Reviewing the SIGMA 14mm F1.8 DG HSM | Art, we are talking not only about a wide, undistorted viewing angle, but also a high shutter speed, which makes it possible to capture the most dynamic scene while maintaining crystal sharpness.

Specifications SIGMA 14mm F1.8 DG HSM | Art

• Construction: 16 elements in 11 groups
• Minimum aperture: F16
• Filter diameter: 82 mm
• Viewing Angle (35mm): 114.2°
• Minimum focusing distance: 27 cm
• Number of aperture blades: 9
• Dimensions (diameter x length): 95.4x126 mm
• Weight: 1,170 g.
• Mount: SIGMA, NIKON, CANON

SIGMA 135mm F1.8 DG HSM | Art

A new telephoto lens with F1.8 aperture for full-frame cameras is designed to maximize the possibilities of artistic shooting with the Art line. The lens has become the sixth prime in the Art series for Full frame, logically continuing its first-class optical characteristics, and another reason to join the ranks of owners of SIGMA lenses. Telephoto lens 135mm F1.8 DG HSM | Art sets new standards in its focal length. To create it, the corporation not only combined all its accumulated experience in the field of optics design and production, but also revised every internal aspect of lens production. The result is minimal chromatic aberration and outstanding bokeh, combined with unique levels of sharpness and contrast. So unique that the photographer will be able to distinguish individual hairs in the photo. SIGMA 135mm F1.8 DG HSM | Art is perfect for portrait photography, general plans, as well as dynamic scenes, as it has ultra-fast autofocus.

Specifications SIGMA 135mm F1.8 DG HSM | Art

• Construction: 13 elements in 10 groups
• Minimum aperture: F16
• Filter diameter: 82 mm
• Viewing Angle (35mm): 18.2°
• Minimum focusing distance: 87.5 cm
• Number of aperture blades: 9
• Dimensions (diameter x length): 91.4x114.9 mm
• Weight: 1130 g
• Mount: SIGMA, NIKON, CANON

SIGMA 24-70mm F2.8 DG OS HSM | Art

Meet the next generation of 24-70mm F2.8 IF EX DG HSM! The new SIGMA 24-70mm F2.8 DG OS HSM incorporates all the advantages of the Art line and is designed specifically to work with full-frame cameras with ultra-high resolution from 50 MP. The updated 24-70mm is much more than an all-purpose zoom. For this Art-series lens, professional photographers can and should place the highest demands on shooting quality, which the lens is able to meet. First up, SIGMA 24-70mm F2.8 DG OS HSM | Art has a versatile focal length range to cover most photographic needs. Secondly, it meets the requirements of modern cameras of the latest generation, having an HSM motor and an OS optical stabilizer. Thirdly, it has a dust- and moisture-proof mount for working in difficult conditions.

Specifications SIGMA 24-70mm F2.8 DG OS HSM | Art

• Construction: 19 elements in 14 groups
• Minimum aperture: F22
• Filter diameter: 82 mm
• Viewing Angle (35mm): 84.1°-34.3°
• Minimum focusing distance: 37 cm
• Number of aperture blades: 9
• Dimensions (diameter x length): 88x107.6 mm
• Weight: to be confirmed
• Mount: SIGMA, NIKON, CANON

Compiling a review, Konstantin Birzhakov, February 21, 2017
Based on materials from the official SIGMA website
The author of the review cannot be held responsible for the accuracy of information taken from open sources.

It was announced relatively recently, promising the user a level of image quality hitherto unseen for the 50mm f/1.4. Many are waiting for a new product Sigma, asked two questions: first, what the price would be, and second, what level of image quality this lens could offer.

In anticipation of the launch, some fairly reliable sources suggested that the cost of the new product would exceed $2000, which is quite expensive for a 50mm prime. Rumors about such a cost only increased interest in the question of the quality of the image that will be produced.

However, the real cost of the lens at the start of sales was less than $1,000, which is good news. Thus, the question of cost was removed. So now we can move on to the second, more important issue: the image quality offered by Sigma's new fifty-fifty unit. Let's hope that our expectations will be justified.

: Focal length

50mm is the natural focal length closest to how our eyes perceive a scene (at least in terms of field of view and perspective). This focal length is also commonly known as “normal” because a photograph taken at this focal length looks as natural as possible to the viewer.

For a long time, 50mm lenses were at the peak of popularity: in the era of non-digital SLR cameras, these lenses came with cameras like . Interest in them continues to this day, and the wide range of 50 mm lenses offered by the market to the user only confirms the demand of photographers for this focal length.

50mm primes are often used for architectural and fashion photography.

At full frame, the 50mm lens is too wide for face-on portraits, but ideal for shoulder-length and full-length portraits.

When combined with cameras equipped with APS-C sensors with a 1.6x crop factor, the 50mm lens provides an angle of view equivalent to an 80mm lens at full frame. That is, in such conditions, while maintaining a better perspective, it will be suitable for the same purposes as indicated above.

The slideshow below shows how the depth of field changes depending on the selected aperture (click on the image to change the frame).

Diaphragm

In the manufacturer’s line, it received the “A” marking, indicating that it belongs to the Art lens family (as opposed to the ultra-modern “C” series and the sports “S” series).

You can have different attitudes towards the new lens division criteria adopted by Sigma. However, to be honest, they seem somewhat vague to us. Most of the confusion surrounds the "C" series, which stands for cutting-edge lenses. Does this mean that the “A” and “S” series lenses are not so modern? Or is it that the “sports” series lens is unsuitable for photographing wildlife? For example, the hero of our review: excellent for sports photography, although it belongs to the A-series and not the S-series. In a word, there are more questions than answers.

Perhaps, as with other A-series lenses, the wide aperture bears some responsibility for classifying the lens in the Art category. The f/1.4 aperture is capable of removing all background details, blurring them into a solid background. A shallow depth of field allows you to effectively highlight your subject against a blurred background.

It should be noted that only owners of Canon DSLR cameras can find an autofocus lens with an aperture wider than f/1.4: the Canon EF 50mm f/1.2 USM and the discontinued, but still available, Canon 50mm f/1.0 AF.

The current Nikon mount is too small to support autofocus lenses with apertures wider than f/1.4. All that is available to Nikon owners is the fully manual Nikkor 50mm f/1.2 AIS and the discontinued 55mm f/1.2 AI.

Thus, it offers Canon and Nikon users almost the widest aperture available on a 50mm prime.

It is worth noting that the new Sigma maintains a fairly large depth of field even at f/1.4. In the photo below you can see that even though the camera is focused on the number "50", the rest of the stadium remains quite sharp, especially at this resolution.

In addition to the ability to blur the foreground and background, a fast lens allows you to avoid camera shake when shooting in low-light conditions. If a shallow depth of field is acceptable for your shot, then you can take it indoors even at night with this lens.

: Image quality

So, it's time to check whether the developers' promises of excellent image quality correspond to reality.

Quite sharp in the center of the frame; towards the edges of the image the sharpness drops slightly. However, the corners of the frame remain amazingly sharp even when the aperture is wide open. At f/2 there is a slight increase in sharpness in the center of the frame, and at f/2.8 there is a significant increase even in the corners of the image; at this aperture the sharpness of the lens is simply incredible.

There are quite a few 50mm primes, but none of them, except perhaps the Zeiss 55mm f/1.4 Otus Distagon T* and the Zeiss 50mm f/2.0 Makro-Planar T* ZE, give a truly sharp image up to at least f /2.8. Moreover, the first at f/1.4 is only slightly sharper in the center of the frame than the Sigma, and the second is inferior to the Sigma at f/2.

If your subject's face is in the center of the frame (as is often the case when shooting a face portrait), any vignetting will only highlight it, making it appear brighter than the rest of the frame, and this effect is often more desirable than the opposite.

As we noted earlier, the 50mm lens is also ideal for portraits in which the subject's face is far from the center of the frame, such as shoulder-length portraits or ¾ portraits. In such cases, vignetting has a negative effect because the model's face falls into the shadow area.

The reduction in vignetting offered and superior to other 50mm primes is an undeniable benefit of this lens.

Of course, vignetting can be removed in post-processing, but this will add noise to the image.

The distortion of this lens is also very low. produces less distortion than any other 50mm non-macro lens.

CA (chromatic aberration) is very well controlled, although there is some bokeh in some images. You can see an example below.

The violet ghosting typical of using a wide aperture is extremely negligible.

The Sigma A-series 50mm lens does an excellent job of controlling flare at wide and medium apertures. In the range from f/11 to f/16, flare is possible if there is very bright light in the frame.

Equipped with a 9-blade diaphragm, which provides beautiful bokeh, and at a narrow aperture it produces 18-point stars against glare.

In general, Sigma, to a greater extent, confirms the promised high quality.

: Focus

As evidenced by the abbreviation “HSM” in the name of the lens, the new Sigma is equipped with the top-end ultrasonic drive of the SigmaAF autofocus system.

Thanks to it, the lens shows a fairly adequate focusing speed, which is why it deservedly occupies the top position in the middle of the focusing speed rating. Since slow autofocus seems to be characteristic of all 50mm lenses, at least for Canon and Sigma, the 50mm A-series prime occupies a leading position in its class in terms of focusing speed.

As you'd expect, focusing speed slows down in low light.

Focusing is completely internal, so the filter thread does not rotate when focusing, making it easier to use the rotary.

Supports FTM (focus manual) function.

The new Sigma product is compatible with the Sigma USB Dock provided that the proprietary Sigma Optimization Pro software version v1.2.0 or older is used. The docking station allows you to flash the lens, installing new software that includes bug fixes, compatibility updates, feature enhancements, and precise focus calibration at 4 distances.

The shallow depth of field at f/1.4 places very high demands on focusing accuracy, which impacts the ability to take full advantage of this lens' impressive image quality wide open.

But the harsh reality is that the longer we tested the autofocus performance, the less confident we were in its accuracy. Testing was carried out using Canon's best AF systems: the EOS 5D Mark III and 1DX, and for comparison we also ran tests on a more affordable camera: the EOS 60D.

What we've learned for sure over many hours of testing is that you shouldn't rely unconditionally on the autofocus of a Sigma A-series 50mm lens. Of course, in most cases it worked properly. But there were some shots where the subject was out of focus, which was quite disappointing.

Below you can see 10 consecutive test shots. Each frame was automatically focused in OneShot mode using the central AF point. A Canon EOS 5D Mark III camera with mirror locking and a 2-second self-timer delay was used for shooting. The result, as they say, is obvious and requires no comment.

Faced with inconsistent autofocus in One Shot mode, we no longer expected Sigma 50mm f/1.4 DG HSM Art Great performance in AI Servo AF mode. However, according to the test results, we were pleasantly surprised: the percentage of accurate autofocus hits was significantly higher than in OneShot mode.

Shooting at f/1.4 in bright sunlight allows you to use shutter speeds much faster than those available in DSLR cameras - 1/8000 is the maximum that the Canon 1DX I could offer. Alternatively, you can use a narrower aperture, but in this case you will negate all the benefits of background blur at f/1.4.

In order to have some shutter speed reserve and improve image quality by reducing glare and increasing color saturation, we decided to use a circular polarizing filter. And even after installing it, the photos were taken at a very fast shutter speed: 1/4000 sec.

The next stage was taking a portrait. Although autofocus errors were present, in general, according to the results of the fifty-kopeck test, Sigma left only pleasant impressions.

To summarize, we can say that most of all the autofocus work Sigma 50mm f/1.4 DG HSM Art reminiscent of his work in Sigma 85mm f/1.4 EX DG HSM. So, checking autofocus accuracy should be part of your workflow when shooting with this lens.

The manual focus ring has the optimal size and protrudes slightly above the lens body, which makes it easier to find it “blindly”. The disadvantages include the relatively small travel of the ring: only 92°, so focusing occurs faster than many are used to. According to the lens documentation, the focus ring travel can be adjusted using the docking station.

Minimum focusing distance Sigma 50mm f/1.4 DG HSM Art is 40cm and its maximum magnification is 0.18x, which is better than most other 50mm non-macro lenses which seem to be stuck at 0.15x.

Below is a table with the minimum focusing distance values ​​( MRF) and maximum magnification ( MU) some lenses.

If you want to reduce the minimum focusing distance or achieve higher magnification, you will need to use CanonExtensionTube macro rings since this lens is not compatible with Sigma teleconverters.

: Build quality and specifications

Sigma did not reinvent the wheel in terms of design and 50mm f/1.4 DG HSM Art is a slightly enlarged copy of its 35 mm counterpart. All new Sigma lenses are made in a stylish design and the “fifty-kopeck” A-series is no exception.

As we already mentioned, the lens is made of heat-resistant composite materials (TSC) and metal, which allows it to be used in a fairly wide temperature range.

The lens body has many ribbed elements that provide a secure grip and prevent the lens from slipping. Ribs are also applied to the hood to facilitate its installation and dismantling.

The focus mode switch is within reach of your left thumb. An original solution by Sigma designers: a clearly visible white background of the switch signals the choice of automatic focus mode, while black background indicates manual focus.

Another nice little thing: for Sigma A, C and S-series lenses there is no need to decipher the date code to find out the year of their manufacture. Sigma lists the year of manufacture of the lens right on the barrel.

Although Sigma 50mm f/1.4 DG HSM Art- a medium-sized lens, it looks and feels very solid. This is typical for lenses with a large number of glass optical elements.

Below is a small table to compare the dimensions and weight of several lenses.

Despite its considerable weight, it is convenient to use and even wearing it for a long time does not cause any significant inconvenience.

The lens uses 77mm filters, and since they are so common, finding the filter you need won't be difficult.

The Sigma 50mm f/1.4 DG HSM Art comes with a high-quality zippered case with belt clips.

The absence of the abbreviation “OS” in the name of this lens indicates that it is not equipped with an optical stabilization system. Of course, many lenses with an aperture no wider than f/2.8, including a focal length of 50 mm, are equipped with a stabilization system, but this does not mean that the new “fifty dollar” Sigma is not worthy of your attention. After all, it is primarily aimed at portrait photography, where shutter speeds are rarely longer than 1/50 sec, which, in combination with the f/1.4 aperture, reduces the likelihood of “shake” to a minimum.

Thanks to Alexey L. from St. Petersburg for the lens, as well as for the delicious coffee and other lenses (about which articles are still to come)!

Sigma 35mm 1:1.4 DG Art HSM

The lens is quite well made and weighty.

The lens comes with a Sigma proprietary device for adjusting front-back focus ( Sigma USB Dock), but I haven't used it yet. In my opinion, the lens is in focus quite accurately (on my camera) and may require special adjustments only for tests.

I had the opportunity to compare this one with two alternative lenses: Canon EF 16-35/2.8L II And Carl Zeiss Distagon 35/2 ZE.

I compared it with the test world by simply walking around and taking pictures, alternately with different lenses. I walked around the satellite city of St. Petersburg - Pushkin. There are many palaces and parks where Russian tsars and queens rested and generally spent their summers. The parks are gorgeous and so is the architecture. At that time there were talented architects and later talented restorers, among whom was my grandfather.

Of course, such an architecture deserves a gimbal camera, but some things can be shot with a regular 35mm lens with a reportage camera (like all our other favorite brands: Nikon, Sony, Pentax, etc.) camera Canon(in this case Canon 5D mark II).

Below I will post some pictures from Sigma 35mm 1:1.4 DG Art HSM, and at the end, in conclusions, I’ll tell you about my impressions.

Sigma 35mm 1:1.4 DG Art HSM@F2

Sigma 35mm 1:1.4 DG Art HSM@F2

Sigma 35mm 1:1.4 DG Art [email protected]

Sigma 35mm 1:1.4 DG Art HSM@F2

This shot with the branches is just a disaster... The left side of the branches is purple, and the right side is green. I’m not sure that these can be corrected in a RAW converter with a couple of mouse clicks.

Sigma 35mm 1:1.4 DG Art HSM@F2

Of course, F2 is not for landscapes. But it was worth a try... I had to close the aperture to a more workable F4.

The situation with purple edges, although not completely corrected, has become tolerable.

Sigma 35mm 1:1.4 DG Art HSM@F4

And then I “suddenly” switched to Zeiss Distagon 35/2 ZE, which will be the subject of the next two articles.

Results

Sigma 35mm 1:1.4 DG Art HSM- a wonderful lens (And am I talking about Sigma?? Yes... How Sigma has changed over the past 10 years... A huge breakthrough in quality.), which demonstrates high sharpness at apertures above F2. Sigma 35mm 1:1.4 DG Art HSM capable of competing with such industry monsters in its focal length as Canon 16-35/2.8L II And Zeiss Distagon 35/2 ZE.

There is one information about this Sigma that, IMHO, should definitely be added to the review. The fact is that some copies of this lens “from birth” have one not very good sore, namely: back/front focus, which changes with the distance to the object. Those. (example, to make it clear): at a distance of up to 10 m, your front focus “climbs”, from 10 to 15 m it goes away and generally hits the spot, and after 15 m it changes to the completely opposite one, i.e. to backfocus (the values ​​in meters are given simply as an example and are different on different copies). I have already come across instances with this problem. Considering the change of “byaki” to the diametrically opposite one, no adjustment or correction in the camera can “cure” this. So when buying, you need to be very careful and when you see the back or front, don’t think: “... nonsense, I’ll fix it in the camera or with a dock...”, but carefully check it at close and distant objects, so as not to get an “incurable disease”. This also applies to 50/1.4 Art. The guys from the service tried to write about this to Sigma - they are silent and pretend that nothing like this exists. You should also take into account that when you buy such a copy, they may refuse to change it in the store or offer to send it for repair, but it can’t really be repaired, i.e. They will do everything not to change it or return the money. So be careful when purchasing.

In fact Sigma 35mm 1:1.4 DG Art HSM even sharper at the edges of the frame than Canon 16-35/2.8L II. But what to take from an old man 16-35? He's already God knows how old. Maybe they will release version 3 soon. By the way, the motor in Canon 16-35/2.8L II it's still much faster and the blur () is more pleasant, but bokeh is a subjective thing, so I'm just expressing my opinion.

When compared with Zeiss Distagon 35/2 ZE everything is not so clear. Sigma 35mm 1:1.4 DG Art HSM significantly inferior Zeiss Distagon 35/2 ZE by contrast. Also Sigma 35mm 1:1.4 DG Art HSM bends the verticals along the edges of the frame, and Zeiss Distagon 35/2 ZE- No. This is an important advantage Zeiss"a. His pictures can be completely straightened in Photoshop, but Sigma’s pictures cannot be perfectly straightened (remove distortion).
The profiles included with these lenses were equal parts pleasing and disappointing. I was pleased with the profile to Zeiss. There is no need to fix anything manually - just connect the profile. And it seemed to me that the Sigma profile did not match the lens. Both are in the standard profile library from Adobe Camera Raw.
And yet - in the center of the frame Sigma 35mm 1:1.4 DG Art HSM even if it is inferior Zeiss Distagon 35/2 ZE, then insignificantly, and this can be considered a very important achievement for Sigma! The frame edges of Zeiss are not perfect, but still much better than Sigma 35mm 1:1.4 DG Art HSM.

Conclusion: Sigma 35mm 1:1.4 DG Art HSM will definitely find its buyer. High resolution, decent workmanship and low price. Bravo, Sigma! Just a few years ago we couldn’t even dream of such optical quality and cheaper than 50 thousand rubles (~1500usd)

But if you are a picky photography enthusiast who has already tried expensive lenses, then Sigma is unlikely to suit you for long on the points listed above. Maybe I'm too picky? I’ll be glad to hear your opinions in the comments, but for now I’ll go write about Distagon 35/2.

(23 votes, average: 4,78 out of 5)

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