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

Product Information

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. Focusing speed was another concern. Some third-party lenses I’ve tried (like my beloved Tokina 100mm f/2.8 macro lens) are slow to focus and the motor sounds like a jumbo jet taking off in my ear. The Sigma 35mm lens was fast, quiet and crazy accurate. I haven’t shot them side by side, but I really feel like the Sigma is every bit as fast and accurate as the native Nikon 35mm f/1.4 lens I’ve used occasionally. I also can’t speak to how well it does shooting a football game in terms of handling, but for fast toddlers or dancing grooms, it’s pretty awesome. He had the same problem with a 50 Art as well. And one of his friends, another wedding photographer, had a 50 that loosened up on him. A specific issue I had with Sigma's 30mm lens was that the optics were not well suited to getting hit by direct light. Shooting into a light-source was the optical equivalent of a demolished building: nothing worthwhile was left over. The Sigma 35mm f/1.4 has none of these flaws; it handles light-flare well, retaining much of the image's fidelity. The visible optical flare may not be as dramatic or pretty as you've seen in some of Canon's primes, but it's still there for those who like to add that creative flair (pun!). However, calibrating focus to maximize focus accuracy is one thing. Focusing consistently is another. I owned the Sigma 35mm f/1.4 Art for three years and used it primarily for weddings and events. I can say without hesitation that it did not nail focus as consistently with phase-detect (viewfinder) AF as my Canon USM lenses. The consistency wasn't bad, but the difference was noticeable. Thankfully, there is something you can do to significantly increase your in-focus rate.

Cat's eye effect is an issue, though, yielding football-shaped (or for non-Americans, rugby ball-shaped) bokeh, and not just in the corners but almost to the center of the frame at F1.4.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 the speed of this lens is impressive. At f/1.4 you get loads of light in. I shot my weddings pretty much with available light only and the option to keep a reasonable shutter speed in dim churches was amazing. And for those who love a shallow depth of field, there is plenty to play with. The shot below is at f/2.2.

The Xiaomi 12T Pro offers a whopping 200MP main camera, but how does this perform, and do the other cameras deliver? Joshua Waller puts it through its paces. 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. Objektiv používám krátce, ale jsem s ním velmi spokojená. Má krásný bokeh a velmi pěknou ostrost již od nejnižší clony. Překvapila mě i pěkná hloubka ostrosti, působí někdy dojmem, jako by bylo foceno delším ohniskem. Above: here’s the Sigma 35 1.4 with its supplied petal lens hood. Note the Sony lens with its hood is almost the same length as the new Sigma without it. The type of images that the Sigma is capable of is truly impressive. That incredibly sharp resolution on the subject at wide apertures was and is revelatory. You can view many more samples in the Sigma 35mm f/1.4 ART Image Gallery. Optical Weaknesses?The focal length, maximim aperture and filter thread size (82mm) are all printed on the barrel just behind the focus distance window Beyond Art The Sigma 35mm lens has 9 rounded diaphragm blades, so sunstars take some work to achieve. I have to stop down to f/16 and hit it just right to get one, and they aren’t as “wow” as I’d like. If you’re a landscape shooter who loves sunstars, this isn’t the lens you’d want. Distortion

This lens is extremely amazing! It's sharp as hell! I just recently bought this lens 4 months ago, it focuses really fast. překvapivě vysoká hmotnost objektivu (to je však dáno fyzikou, nižší hmotnost by byla na úkor kvality) 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. The Canon produces surprisingly strong chromatic aberration (magenta fringing), even at apertures as small as f/8

Sigma 40mm f/1.4 DG HSM Art review: Resolution, shading and curvilinear distortion

If you're an L-mount shooter, the Sigma 35mm F1.4 represents a very nice option for achieving a shallow depth-of-field and overall good image quality while staying on a reasonable budget. The Sigma 35mm F1.2 DG DN is also worthy of consideration, but you'll have to spend a lot more and work out your biceps for the benefits it can bring. Above: Moving into the far corner also shows a similar result when they’re at their maximum apertures and coincidentally both lenses capture almost exactly the same field of view – remember just because the model quotes the same focal length, doesn’t mean the coverage will be identical in practice. In case you want the best simply go for any of the recent GM primes. The Sony engineers have not only the willingness but also the funding form a huge company that strives for perfection. Whenyou take a picture out of the side window of a moving car you must account for the difference between the speeds of each car. The resulting photo will be as blurred just likeyou were standing still while a car driving by you. What really matters is the difference of the speed between to two vehicles. When you shoot out of a car, the closest to you objects will be blurred most, the ones farther awaywill be blurredless.