Sigma 40mm F1.4 DG HSM Art For SONY SE Fit Black 332965

Product Information

Normal is for the scene to change size in the frame (sometimes significantly) as the focus is pulled from one extent to the other. The spherical aberration color halo shows little size change as the lens is defocused, and stopping down one to two stops generally removes this aberration.

When shooting at f/1.4, vignetting is noticeable towards the corners of the image frame. That’s not an altogether bag thing, as it can give an attractive look to many types of image, including portraits and still life shots. And if you’d rather have a more uniform level of peripheral brightness, in-camera correction for vignetting is available. The lens relies more heavily on in-camera correction for distortion, as is the case with the majority of recent lenses designed for mirrorless cameras. Whereas the previous DG edition was essentially a zero-distortion lens, the DN exhibits noticeable pincushion for a 50mm prime, when auto correction is disabled. All in all though, image quality and all-round performance are absolutely fabulous. While the Sony lens is the easy choice from the performance standpoint, paying for it is the hurdle. A narrower aperture brings increased depth of field, and this lens produces excellent close-up corner image quality at narrow apertures. On top you can see the worst result I could produce with ghosts and rainbow artifacts all over the frame.

Sigma 40ART Build and Handling

APS-C format cameras using lenses projecting a full-frame-sized image circle avoid most vignetting problems. With a minimum focus distance of 17.7" (450mm), this lens has a mediocre 0.15x maximum magnification spec.

Axial CA remains somewhat persistent when stopping down, with the color misalignment effect increasing with defocusing.The Sigma 40mm 1.4 Art is a really big and heavy lens, even bigger and heavier than the 35mm 1.2 Art: Sigma 35mm 1.2 Art DG DN – Sigma 35mm 1.4 Art DG – Sigma 40mm 1.4 DG However, this lens has modest pincushion distortion at long focus distances and strong pincushion distortion at close focus distances, with a gradual variation in between. Due to the infinite number of variables present among available scenes, assessing the bokeh quality is considerably more challenging. The f/1.4 results show strong color separation, and you should expect to see this separation in some images, such as in the details of a white bridal dress. This is your cheapest option when looking for a native 35mm f/1.4 lens with AF, personally I would pay slightly more to get the Sigma 35mm 1.4 Art.

However, this lens isn’t exactly aimed at entry-level photographers. It’s designed for people who want (as near as I can tell from using it extensively) no compromises in terms of optical performance. As a result, the lens is big, heavy, expensive, and not exactly the sort that you would take out as a casual go-anywhere addition to your camera kit. Although, if you prioritize outstanding image quality above all else, then this may be the lens you are looking for. Sharpness While there are many smaller and lighter lenses available, not many of those lenses have an f/1.4 aperture.

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For E-mount there’s the Sony 35mm f1.4 ZA (1500 EUR/USD). My complete Sony 35mm f1.4 ZA review is coming soon. Weight: 1177g (42 oz.) in the F-mount version plus 61g for the lens hood. Sigma does not list the weight of the E-mount version which has a 28mm longer “throat” but I assume that’s an additional 100g. If you use the F-mount lens on a Nikon Z body the FTZ-adapter adds 133g (4.7 oz.). The Sony ZA is only half as heavy at 630g (22 oz.) plus 30g lens hood. The Zeiss Batis is incredibly light in comparison at only 362g (13 oz.) plus 32g for the lens hood. But then it has a one stop slower focal ratio. [-]