Sigma 340101 35mm F1.4 DG HSM Lens for Canon, Black

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Lens flare is very well controlled, but with the sun in or near the frame, you can nevertheless get quite a bit of ghosting. Sunstars are quite well defined when stopped down, providing a nice effect so long as you can live with the ghosting that comes hand-in-hand with them. Longitudinal chromatic aberration (fringing) Our Image Engineering MTF tests were carried out with the lens mounted to Canon’s 50-million-pixel DSLR, the EOS 5DS R. The solid red line spike tells us sharper results can be achieved in the centre of the frame as a result of stopping down from f/1.4, however this shouldn’t put people off making the most of the fast maximum aperture available. Corner sharpness, illustrated here by the dotted line peaks at f/5.6, beyond which point diffraction gradually takes the edge off sharpness. Shading There's no in-lens image stabilization, though this isn't an especially common feature on 35mm primes ( Canon and Tamron offering exceptions here). The Sigma does include comprehensive sealing against dust and moisture. In all there are 11 seals, and these protect every switch, ring, button and join between components, as well as the interface between lens mount and camera body. The front element features Sigma’s water and oil repellent coating, which is designed to repel water drops and provide resistance to fingerprints

Both E-mount and L-mount versions of the Sigma 35mm F1.4 are very sharp lenses, and in most respects can deliver great image quality even when shooting wide-open. Although there are issues with ghosting and cat's eye, in many situations you'll be able to work around these. Up front, there's a 67mm filter thread. This is both the same size used in the SLR-oriented lens from 2012, and also a common size that should prove easy to find at an affordable price. The Sony 35 1,8 is relatively sharp at mfd and has relatively good magnification and it also has bokeh at 1,8 that makes ones' eyes water. I decided to go ahead and do a review of the Sigma 35mm f/1.4 ART (35A for short henceforth) that took into account the new releases from Canon and Tamron. Sigma is no longer the de facto choice, but do these new options make it any less deserving of your consideration? Build Quality and Design Looking at the finished image now, I’d probably tone down the processing a bit… maybe lighten it up overall. But you should be able to see why I was able to hold the shadow detail. Want to Help?Above: Measuring 76x110mm and weighing 645g, Sigma’s mirrorless 35 1.4 is actually 16mm longer and 20g heavier than the previous DSLR version. That said, if you’re comparing the DSLR version with the built-in e-mount adapter, the new lens becomes 10mm shorter and 110g lighter. The Sigma 35mm F1.4 DG DN Art isn't quite as compact and lightweight as we might have expected, given that it's designed specifically for mirrorless. Compared to the original DSLR-oriented 35mm F1.4, its barrel diameter is near indistinguishable and its weight has only dropped by around 20-25 grams (0.7-0.9 ounces). As noted in the previous section, the size and weight advantage versus the mirrorless variant of Sigma's older design is rather more noticeable, however. Nothing in the article makes the mirrorless version stand out over the DSLR version, except the 30% price increase.

Above: Now for the Sony 35 1.4 G Master at the bottom where it’s reproducing 134mm across the frame, delivering the greatest magnification in this foursome, although you will need to manually focus from this distance. More importantly though it’s crisper in the middle and while it softens towards the edges, it’s still ahead of the Sigma 1.4. I have had lenses in the past that have had a fault. When ever I have had them repaired they have always broken again. It's like the fault is produced at point of build. I had a nightmare with a Canon 1.4 lens. My ethos now is that if a lens has a fault, replace it outright. No science behind this belief mind haha. It’s the first 40mm f/1.4 lens the company has ever made and the construction unites 16 elements in 12 groups – a more complex arrangement than the 13 elements in 11 groups found inside the 35mm f/1.4 DG HSM Art and the 13 elements in 8 groups you get inside the 50mm f/1.4 DG HSM Art. Low dispersion glass I don't really care if your Zeiss is better than your Leica. The original post here pointed out that lenses designed for rangefinders are considerably smaller than this Sigma lens. That's all. It wasn't an invitation to criticise Leica but you couldn't resist the opportunity.Little changes at f/2.8, although now both lenses show the slight shape of their aperture blades at a 1:1 level to a similar degree.

I have never tried shooting from a moving car. All the reciprocal shutter speed rules of thumb are based on standing on foot, so perhaps they are inivalidwhen you are sitting in a vibrating machine travelling over rough pavement. Same with the stuff about wide-ish focal lengths like 35mm not needing IS when handholding. And in fairness, Sigma's strongest E-mount rival, the otherwise-superb (and much more expensive) Sony 35mm F1.4 G Master also shows significant focus breathing, albeit not quite as strongly as in this lens. But it still feels like a bit of a missed opportunity for Sigma to differentiate itself from its rival, and is something of an Achilles' heel on the video front.The Google Pixel 6 may not be the latest Google smartphone any more, but it might still be the best value SIGMA’s iconic 35mm F1.4 Art has been reimagined for L-Mount and E-mount mirrorless systems, bringing improved optical performance and advanced features in a more compact body. Its wide-standard focal length and bright aperture make it the perfect tool for a range of applications, including wedding, portrait, astro and travel photography, as well as film-making.