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

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In many (even most) cases I got well focused results, but the misses were more frequent than what I’m accustomed to. At wide apertures I would sometimes find that the focus was acceptable but not really nailed, either, if I examined the image at a pixel level. I’ve been spoiled by the focus accuracy of the Canon 35 f/2 IS, and both the Tamron 35mm f/1.8 VC and the Canon EF 35mm f/1.4L II performed very well for me while reviewing them. This video breaks down autofocus among the chief competitors in detail, and will give you a good idea of how the lens performed overall. I can't claim to know what Sigma was thinking when they produced the 35 f/1.4, but I like to think it was an evolution to their approach with the 50mm f/1.4, and a reaction to the (potentially unfounded) general opinion of their brand. It's no secret new Canon lens prices have been particularly high as new technology, coating, and build methods are integrated. Maybe this gave Sigma some more leverage to manufacture a product that they could put a bit more money into, something that would still be competitive in price while appealing to everyone who's always been on the fence about buying something from anyone but Canon with great optics as well. The message appears even when the software and the lens are appropriate, close the Lens System Software Updater and remove the cable and power OFF the camera. PL Water-repellent, Antistatic type. Circular PL filter removes the reflection of water surface and glass windows, and increases the contrast in landscape photography.

Above: Stop it down even a little though and you’ll gain sharpness and contrast with the lens peaking around f4 to f5.6. The three partners collaborate on the L mount specifications for lenses and cameras. There is some degree of active co-ordination, and no one else may join without the permission of all members. When the message “Lens update complete.” appears on the camera display, the firmware update of the lens is successfully over. Follow the instructions on the screen to close the process. After closing it, remove the USB cable from the camera and the PC. Sigma’s Art collection continues to go from strength to strength and introductions to the series in the past couple of years include the 20mm f/1.4, 24mm f/1.4 and, most recently, the 50mm f/1.4 DG DN Art in Sony E and L-Mount fittings. A sublime performerDon't get me wrong - I'd buy any better, smaller and lighter lens in a heartbeat - I am completely brand agnostic - I buy whatever is best - only one sigma lens thus far and this is going to replaced soon when we'll get a GM macro from Sony - I am expecting this might beast all existing macro lenses by a good deal - given the pedigree of recent lens releases. Before wrapping-up my review, a few notes for the videographers out there. Just like for stills, 35mm is an ideal general-purpose length for filming, wide-enough to squeeze in bigger scenes, but not so wide to suffer from distortion. Movie autofocus is smooth, quiet and hassle-free with none of the hunting of AFS in stills, nor any issues with accuracy or repeatability. That said, it’s not an issue with the other three lenses either. When comparing the Sigma 35A and Canon 35L II side by side at a wide open f/1.4 aperture it is actually surprising how similar the bokeh highlights looked. The shape of the highlights is roughly the same, and while there is just a hint of additional busyness in the Sigma’s highlights, that is only detectable at 1:1 pixel level. The Canon shows a slight bit more concentric rings while the Sigma shows more of a pattern. As you move away from the center of the frame both lenses show a tendency towards lemon shapes instead of circles – a pretty common phenomenon. At identical exposure the Canon’s image is noticeable brighter, but probably no more than a quarter stop.

The Sigma 35mm f1.4 DG DN Art is a wide angle prime lens for full-frame mirrorless cameras and, at the time of testing, available in Sony e and Leica L-mount versions; here’s hoping for Canon RF and Nikon Z versions of Sigma’s mirrorless lenses soon. First, let's start off with the Sigma 35mm Art. This is the lens that changed the market's perspective of what third-party lens manufacturers were capable of. Introduced in late 2012, it was sleek, stylish and featured fantastic image quality at an attractive price. The impact of this lens's introduction on the value of Sigma's brand cannot be understated; this lens shook up the industry.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. I calibrated both the Sigma and the Canon 35L II on the same day, and eventually settled on a -2 for the Sigma and a +2 for the Canon. I had a little more variability in hunting down the Sigma value, but was confident with the figure I produced. Throughout the period of my review I used the lenses in a variety of settings, from general purpose shooting to events (church, school, and family) along with some portraits. While impossible to encompass every type of shooting situation in a 4-5 week period, I feel that I used the lenses in enough of a variety of settings to be confident in my findings. When the Sigma 40mm f/1.4 DG HSM Art was announced in late 2018, it sat in-between Sigma’s 35mm f/1.4 DG HSM Art and 50mm f/1.4 DG HSM Art, both hugely popular with image-makers of all levels. You can read why we rate the latter as a great used lens here. New and used prices As well as being made in the usual Canon, Nikon and Sigma mounts, it’s also one of Sigma’s new lenses to be offered in E-mount for Sony users, ruling out the need for a Sigma MC-11 converter. The Sony E-mount version performs the same functions as the converter, including in-camera image stabilization and in-camera lens aberration correction, with the benefit of it also being compatible with Sony’s continuous AF modes, which are not supported by the MC-11. Sigma 40mm f/1.4 DG HSM Art review: Build & Handling Water-repellent, Antistatic type. Protector is developed to protect the lens surface from dirt and dust as well as scratches. It is an ideal filter for regular use as it is completely colorless so does not affect color reproduction.

The pictures below illustrate the angle of view on full frame and APS-C. On full frame the 35mm offers a moderate wideangle; on APS-C it behaves as a slightly long 'normal' lens. Above: Now for bokeh blobs and in my video I run through the entire aperture range of the Sigma 35 1.4 from f1.4 to f16, taken from close to its minimum focusing distance of 30cm. Here you can see the new lens puts to rest the bokeh demons of its predecessor, now delivering attractive and well-behaved bokeh blobs with minimal outlining and barely no textures within. Sure there’s inevitable rugby balls in the corners at the maximum aperture, but close it even by one stop and they mostly become circular while the 11-bladed diaphragm maintains a nice mostly rounded shape at f2.8 and f4. The geometric shape becomes more obvious at smaller apertures but overall I’m very happy with these results.It's not quite the night-and-day difference we saw with the recent Sigma 85mm F1.4 DG DN Art, but it's still quite noticeable. Compared to the earlier versions of the 35mm F1.4 Art lens, this new model has shrunk by 8mm (0.3") in length, and shed a not insignificant 110-115g (3.9-4.1 oz) in weight. The 'Auto' position on the aperture ring will control aperture, well, automatically if you're in Program Auto or Shutter Priority modes, for example, but will simply pass off aperture control to a camera command dial if you're in Aperture Priority or full Manual control. he message appears even when the software and the lens are appropriate, close the Lens System Software Updater and remove the cable and power OFF the camera. It’s interesting to me the very different approach that Sigma and Tamron have taken with dealing the challenge of focus with large aperture primes. The Sigma 35mm f/1.4 ART has a large aperture and quite fast focus but at the expense of having a very small focus throw. It barely has 90 degrees of focus throw, and the distance between 6 feet and infinity is TINY on the focus ring. It makes manual focus very difficult and even makes me wonder if this doesn’t contribute to the lens’ somewhat poor focus accuracy in that range.

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. Both the Sigma and the Canon 35L II will produce less busy highlights than the Tamron 35 VC when bright light sources are in the scene. Where the Tamron will win over all of these is in the amount of bokeh it can create in some situations due to being to focus much closer and having a maximum magnification figure twice that of Sigma (.40x). The Leitz Summilux 35mm 1.4 lens for the M mount is half the size of this Sigma at 56mmX46mm compared to the Sigma's 111mmX75mm. Narrowing the aperture to f/2 improves overall score to 3,100 lines, with strong performance in the middle and edges of the frame (2,400 lines). There's further improvement at f/2.8 (3,226 lines), f/4 (3,809 lines), and f/5.6 (4,386 lines). Diffraction sets in at f/8 with the 5DS R sensor, cutting the resolution a bit, but still managing a superb 3,985-line score. It's more of an issue at f/11 (3,630 lines) and f/16 (2,966 lines). A bigger concern is the Sigma's modest autofocus performance, especially when compared to Sony's very swift-focusing G Master lens if you're an E-mount shooter. And videographers will also want to bear in mind its significant focus breathing, although that's also an issue for the Sony lens to a somewhat lesser extent.When shooting groups at weddings or large flatly of food, the distortion is very minimal, when I get in close like in the picture below, there is just enough distortion to make a virtue of it without having to reach for a wide angle lens. Shooting at f/2 and above you can create beautiful images, my lens is usually sat between f/2 and f/5.6 at weddings and then f/4-f8 in the studio when shooting food. The images below f/2 are soft and dreamy, the vignetting that the lens create is perfect for weddings and certain fashion editorial projects. Objektiv sem si vybral proto, že zabere větší prostor na kratší vzdálenost než 50 a můžu fotit ve svém malém ateliéru. Recent owner of it, very solid and sharp. I'm not sure i like the contrast of it that much over other lenses but it's a great over all lense. OPPO's mid-range smartphone aims to provide a sophisticated camera system at an attractive price. Andy Westlake sees how it measures up.