The new announced Sigma 50mm f/1.4 DG HSM Art lens now finally shipping, both Canon mount and Nikon mount. Early pre-orders now shipping, currently this lens out of stock at most US stores, you may pre-order yours and get early shipping. The Sigma 50mm f/1.4 DG HSM A1 for Canon is a professional-caliber, fast-aperture prime lens designed for Canon EF-mount cameras. Key features include: Great subject-background isolation and low-light performance Excellent image quality, clarity, contrast, and sharpness Fast, smooth, and quiet autofocus with manual-focus override www.youtube.com, 视频播放量 411、弹幕量 0、点赞数 7、投硬币枚数 0、收藏人数 5、转发人数 0, 视频作者 叠影随行, 作者简介 ，相关视频：Canon RF 50mm f1.2 vs EF 50mm f1.2 vs Sigma 50m f1.4 ART，放 学 后 /「4K」/ Eos R5 / 适马50 1.4 EX DG HSM /，【开箱】佳能 EF 50mm f/1.8 STM，Canon EF 35mm F1.4 L II Long Term Review，Canon RF 85mm f1 4. has a silent focus motor built into the lens. Nikon AF Nikkor 50mm F/1.4D. Sigma 50mm f/1.4 DG HSM Art. Lenses with built-in focus motor focus faster and more quietly than lenses without a focus motor which rely on the camera's body focus motor. 5. minimum focus distance. The staple Sigma 50mm f/1.4 DG HSM ART Lens has been redesigned and reengineered to set a new standard for the Art line. With a large 1.4 aperture, the Sigma 50mm 1.4 prime lens is a pro level performer for shooting everything including portrait photography, landscape photography, studio photography and street photography. . SummaryThe Sigma 50mm Art is without a doubt a very high quality standard lens with autofocus for Canon, Nikon, Leica L-mount or Sony full-frame cameras. You’d expect it to out-perform the cheaper Canon EF 50mm USM and Nikkor 50mm lenses considering it’s roughly twice the price, but the big surprise is how it also delivers better performance in most aspects than the Canon EF 50mm USM and the Nikkor 58mm and is neck-and-neck with Sony's FE 50mm ZA despite both these lenses coming-in at almost twice the price. And if you’re a Leica L-mount owner, it’s a bargain compared to the 50mm options from Panasonic and especially Leica itself. When you also consider Sigma offers a service paid to switch mounts should you swap camera systems in the future, there really isn’t any reason not to get the 50mm Art if you can afford it. The only downsides are greater longitudinal chromatic aberrations than the more expensive rivals and the fact the body isn’t weather-sealed. So the Sigma 50mm Art is a very good lens, out-performing models costing even twice the price. It sets a very high bar for price / performance ratio of 50mm lenses and easily keeps our Highly Recommended award even several years after its original it now!Check prices on the Sigma 50mm Art at Amazon, B&H, Adorama, or Wex. Alternatively get yourself a copy of my In Camera book or treat me to a coffee! Thanks! Sigma 50mm Art review 6th September 2019 Written by IntroIntroQualitySamplesVerdictThe Sigma 50mm DG HSM Art is a standard prime lens from 2014 designed for full-frame bodies and available in Nikon F, Canon EF, Sony E and Sigma mounts, with a Leica L-mount version arriving later in 2019. A 50mm lens delivers normal’ coverage on a full-frame body and is ideal for general-purpose use, and becomes equivalent to 75mm on APS-C/DX camera bodies 80mm on Canon, making it ideal as a short telephoto for portraiture. Its bright focal ratio is good for isolating the subject against a blurred background and is brighter by 2/3 of a stop than lenses which allows for better background isolation and shorter shutter speeds and/or lower ISO values. The Sigma 50mm Art is also compatible with Sigma’s USB dock for fine-tuning or firmware updates, and if you change bodies, you can pay to have the mount swapped for your new a member of Sigma’s renown Art series the Sigma 50mm Art is expected to perform on a very high level. It is positioned roughly between standard 50mm lenses and the top-end models from Canon, Nikon, and Sony in price. The big question then is how does it to compare to those below and above it in price? Does it offer a sufficient step-up from normal 50mm lenses to justify the price, and does it give the pricier models a run for their money? To find out, Thomas and Gordon teamed-up to give the Sigma 50mm Art a real workout and compared it against a whole slew of other lenses including the Zeiss Otus 55mm Canon EF 50mm USM, and Sony FE 50mm ZA. We’ve completely updated our original review from 2014 with test-shots on the 46MP Nikon Z7 and the 42MP Sony A7R II. So if you’re interested in which high performance standard prime lens to choose for your camera system, you’ve come to the right place! Facts from the catalogAs usual I’ll have a look at the technical data of the Sigma 50mm Art first. I’ve rated the features with a [+] or [++], when it’s better than average or even state of the art, a [0] if it’s standard or just average, and [-] if there’s a disadvantage. For comparison I use the Sony FE 50mm ZA, Nikon Z 50mm S, Nikon AF-S 50mm Zeiss Otus 55mm and Canon EF 50mm USM and simply dub them “Sigma”, “Sony”, “Z-Nikkor”, “F-Nikkor”, “Canon”, and “Zeiss” to make the comparison easier to diameter x length The Sigma is a big and long lens at 85 x 98mm x for F-mount plus 47mm for the lens hood 96mm diameter. The F-Nikkor 73 x 54mm + 32mm and Canon 74 x 51mm are small in comparison. The Zeiss is the biggest lens 92 x 117mm + 32mm lens hood. Adding the necessary adapter to mount the Sigma, Zeiss, F-Nikkor, and Canon on a modern mirrorless camera body makes those lenses even longer by around 30mm. Of the lenses already designed for mirrorless bodies the Sony is also quite large at 83 x 108 + 53mm lens hood while the Z-Nikkor at 76 x 87mm + 40mm lens hood is of medium size. [-]Weight The Sigma is a pretty heavy lens at 805g plus 43g for the lens hood only topped by the Zeiss at 945g + 64g lens hood. The Canon and the F-Nikkor are the lightest of the bunch at below 300g. The Z-Nikkor with its focal ratio of is somewhat in between at 412g + 27g lens hood. The Sony is 780g + 33g lens hood. Keep in mind though that if you want to use the Sigma, Zeiss, Canon or F-Nikkor on a mirrorless body you need an adapter which weighs another 100 to 130g or in case of the Sigma get the respective mirrorless version which weighs 910g. [-]Optics All the modern designs since 2013 are pretty complex at 12 to 13 elements in 8 to 10 groups and employ aspherical elements. Only the F-Nikkor 8 elements in 7 groups and the Canon 7/6 are much simpler designs but even the Canon employs an aspherical element. [+] Closest focus distance of the Sigma is in manual focus with a magnification of 1 The Z-Nikkor yields 1 at the same distance while the others offer a maximum magnification of around 1 at to distance. The Sigma achieves a magnification of 110 at distance. [0]Filter-thread Sigma and Zeiss 77mm, Sony 72mm, Z-Nikkor 62mm, F-Nikkor and Canon 58mm. [+]Image stabilization No lens in this comparison has an optical stabilization. But the modern mirrorless bodies from Sony and Nikon provide built-in sensor-shift stabilization. [0]Auto focus all the lenses in this comparison except for the Zeiss have a built-in AF drive. Manual-focus override is by simply turning the focus ring. The Sigma, Zeiss, Canon and F-Nikkor have a direct linear mechanical coupling between the focus ring and the focus action. They also offer the distance and dof markings that normally come with lenses designed for DSLRs. The focus ring on the lenses designed for mirrorless camera bodies operate as focus-by-wire with no distance or dof markings. The Sony has a linear gearing while the Z-Nikkor has non-linear gearing which makes smooth focus pulling almost impossible for videographers. [+]Covers full frame/FX or smaller. Same with the alternatives. [+]Price The Sigma 690 EUR / 950 USD is more expensive than the 50mm lenses from Nikon 410 EUR/USD and Canon 300 EUR / 350 USD w/o lens hood or the Z-Nikkor 360 EUR / 600 USD. But the Sigma is comfortably cheaper than the Sony 1500 EUR/USD and especially the Zeiss 3200 EUR / 3600 USD. [0]The Sigma and the Sony come equipped with a nice padded pouch, the Nikkors have flimsier pouches and the Zeiss and Canon come without a pouch at all. All lenses also have their lens hood included reversible for transport except for the Canon where you have to buy the lens hood as an extra – which I would recommend to do. [+] Sigma’s service can change the mount of the lens between Nikon, Canon, Sony, Sigma, and L-mount at a cost. This is a unique feature that no other manufacturer offers. [++]Aperture ring Only the Sony and the Zeiss have an aperture ring. The Sony with 1/3 stop clicks which can be turned off for continuous, smooth, and noise-free operation. The Zeiss offers only 1/2 stop clicks which cannot be turned off. [0]Sealing The Sigma has no weather sealing which is a shame considering its premium status. The Sony and the Z-Nikkor have special weather-sealing throughout the construction but the Sony lacks a rubber sealing at the lens-mount. [0]The score in the “features-department” is 2[-]/5[0]/7[+]. On paper only the large size and weight is on the negative side, although for the money some weather sealing would have been nice. On the positive side is the unique option to get the lens-mount standard prime lenses with Nikon mount Above from left to right Nikon Z 50mm S, Sigma 50mm Art, Zeiss Otus 55mm Sigma and Zeiss in Nikon F-mount versionThree standard prime lenses with Canon EF mount Above from left to right Nikon Z 50mm S, Sigma 50mm Art, Zeiss Otus 55mm Sigma and Zeiss in Nikon F-mount versionAlternativesThere’s no shortage of 50mm lenses on the market, and many camera and lens companies actually offer a choice of apertures too. The versions are definitely worth considering they are smaller, lighter, cheaper, less obtrusive and often deliver similar – or even superior – image quality than their bigger brothers. The loss of 2/3 of a stop may not be as relevant as the marketing literature wants you to believe. But if you absolutely want or need or brighter then you have the following alternatives with autofocus Canon offers the EF 50mm USM at 300 EUR / 350 USD or the EF 50mm USM at 1350 EUR/USD. See Gordon’s Canon EF 50mm USM review. Full-frame Canon mirrorless owners can alternatively go for the native RF 50mm at a considerable 2300 USD; see Gordon’s Canon RF 50mm USM review. Nikon has the AF-S 50mm 410 EUR/USD and the AF-S 58mm 1600 EUR/USD. See my Nikon 50mm review and my Nikon 58mm review. Sony offers the FE 50mm ZA for 1500 EUR/USD. See my Sony FE 50mm ZA review. Samyang has the AF 50mm FE for Sony E-mount only from 2016 which sells for 480 EUR/USD. Leica L-mount owners have the Panasonic offers the Lumix S PRO 50mm for 2300 USD or the Leica Summilux SL 50mm for 5300 USD, making the arrival of the Sigma a very welcome budget’ alternatives include manual focus lenses or lenses with slower focal ratios or shorter focal length Sigma has their 40mm Art for 1200 EUR / 1400 USD. The lens is huge and heavy but optically excellent. See my Sigma 40mm Art review where it earned a Highly Recommended. With its shorter focal length you have to crop 25% to achieve the same angle of view as a 50mm lens which reduces the resolution of a 46MP full-frame image to 29MP. Sony offers the FE 55mm ZA for 830 EUR / 1000 USD. It is a much smaller and lighter lens than its bigger sibling but you lose 2/3 of a stop of light gathering power and suffer some reduction in background isolation. I’ll be soon completing my Sony FE 55mm ZA review. There’s also the budget but basic FE 50mm to consider. Nikon has come out with a new standard lens for their mirrorless system, the Z 50mm S costing 360 EUR / 600 USD. See my Nikon Z 50mm review. Samyang has several manual focus 50mm lenses one of which is the 50mm AS UMC which sells for around 350 EUR/USD. The 800 pound gorilla in the group of MF lenses is the Zeiss Otus 55mm and I wish it cost 800 pounds! At a price of 3200 EUR / 3600 USD and over 900g weight plus a completely different optical design than other “normal” lenses it set a new benchmark in 2013 on optical performance in this group. See my Zeiss Otus 55mm review where it earned a Highly Recommended. Zeiss also offers the manual focus Loxia 50mm f2 and the autofocus Batis 40mm accuracy and repeatability is critical to consistently produce sharp shots especially with large aperture lenses. Repeatability the accuracy of focus on the same subject after repeated focus-acquisition of the Sigma 50mm Art is good measured in Reikan FoCal with no outliers over a series of 40 shots. There is only a very slight focus variation whether the lens focuses from a closer distance or from lens focuses in around sec on a Nikon Z7 from infinity to 110 magnification, which is not bad. On a Nikon D800 it focused even faster in sec. The Sony and the F-Nikkor move in around resp. sec. Only the Z-Nikkor is faster at sec. The focus ring has no slack/play between its movement and the focus-action and a throw of around 90 degrees, which is very short for accurate focus wide open. The focus ring has a cm wide finely ribbed rubber surface that is easy to grip and moves smoothly albeit a bit tight. The other lenses have a smoother AF operation. The focus-ring turns the same way as on Canon and Sony lenses. Unfortunately that is the opposite direction to what Nikon users have come to you record video with the built-in microphone the focus-movement produces only a slight “clack” at the start and the end of the movement and the AF-drive itself is also not too annoying. The F-Nikkor has a more irritating focus noise while focus-operation of the Zeiss, Sony and Z-Nikkor is inaudible from the outside and if you record video with the built-in microphone. As you pull focus, you’ll notice some focus breathing the image of the Sigma 50mm Art becomes 7% more magnified when I adjusted the focus from infinity to This could be distracting when shooting videos but is par for the course most other lenses in this comparison increase their magnification between 5% and 7% except for the Z-Nikkor which shows almost no focus breathing lens needed some AF micro adjustment for optimal AF on my D800 depending on the distance from the subject. Fortunately the lens can be adjusted for four different distance ranges around 40cm, 70cm, and infinity if you get Sigma’s USB dock and use their optimization pro software. But beware this is a pretty tedious process. If you only use the AF micro adjustment in your camera then go for the adjustment which best matches your typical shooting distance with this check out my quality results! Check prices on the Sigma 50mm Art at Amazon, B&H, Adorama, or Wex. Alternatively get yourself a copy of my In Camera book or treat me to a coffee! Thanks!Pages 1 2 3 4 Digital Camera World Verdict The new and improved Sigma 50mm DN Art lens for Sony E and Leica L mount shaves some of the size and weight off the previous DG’ edition, while going extra-large on performance. It has quicker autofocus, a host of handling refinements and image quality to die for, combining epic sharpness even wide-open at f/ with beautiful bokeh. Even so, it’s still a big lens for a nifty fifty’ and relies a little on in-camera correction for pincushion distortion. Pros +Spectacular image quality+Great handling+Robust, weather-sealed construction Cons -Big for a 50mm f/ distortion when uncorrected Why you can trust Digital Camera World Our expert reviewers spend hours testing and comparing products and services so you can choose the best for you. Find out how we test. There’s quite a history behind the Sigma 50mm DG DN Art. Its heritage includes the 50mm DG HSM for DSLRs, which launched back in February 2014 as the second Art’ prime in the company’s Global Vision line-up of Art, Contemporary and Sports lenses. As such, it puts artistic expression at the head of the design criteria, with no concessions to minimizing size and weight. The DG was and is an excellent lens, but it’s physically about 50 per cent longer and 60 per cent heavier than Sigma’s previous 50mm f/ lens, which itself was no lightweight. The DG lens was later adapted to make it available in Sony E and Leica L mount options for mirrorless cameras, but that made the physical length even longer. The new DN’ version has been redesigned from the ground up for mirrorless E and L mount cameras, gaining a host of impressive upgrades in the Sony E FE, Leica L Full-frame yes Autofocus yes Stabilization yes Lens construction 14 elements in 11 groups Angle of view degrees Diaphragm blades 11 Minimum aperture f/16 Minimum focusing distance Maximum magnification ratio Filter size 72mm Dimensions 78x110mm Weight 670gKey featuresWhereas Sigma’s Contemporary’ lenses are designed to be relatively compact and lightweight, the Art’ lenses in the Global Vision line-up are less compromising. They aim to deliver the highest standards of image quality to suit the most demanding creative photographers. This 50mm prime has a particularly complex optical layout for a nifty fifty’, based on no less than 14 elements in 11 groups. The layout include three aspherical elements and one SLD Special Low Dispersion element, with the overall aim of enhancing color rendition, contrast and edge-to-edge sharpness while minimizing aberrations that include sagittal coma, astigmatism and field curvature. For many creative photographers especially when shooting portraits and still life images, the quality of bokeh is every bit as important as outright sharpness. Again, the characteristics of the optical design focus on this, so to speak, while the aperture diaphragm is based on 11 curved blades compared with the 8 blades of Sigma’s previous 50mm Art lens. As such, the aperture remains more well-rounded when stopping down from f/ and defocused lights and other bright spots don’t take on such a noticeable geometric outline.Image credit Sigma ImagingThere was certainly nothing wrong with the DG lens’s autofocus speed, which was based on a conventional ring-type ultrasonic system. More in line with recent designs for mirrorless cameras, the DN edition features a new HLA High-response Linear Actuator autofocus motor. As a linear stepping motor, it’s typically swift for stills while giving the additional bonus of smooth rather than jerky autofocus transitions when shooting movies, along with virtually silent operation. Autofocus speed is also enhanced by the fact that just one optical element is moved during focusing. It’s actually an element that has a complex double-sided aspherical and handlingBuild and handling are much improved over the previous DG edition of the lens. As one of Sigma’s first Art lenses, the DG version was very well engineered but lacked any weather-seals. The DN lens puts that to rights with a comprehensive set of seals on its coated brass mounting plate and around all the joints in the barrel, including control rings, switches and function button. Sigma’s high-grade TSC Thermally Stable Composite plastic is used in the construction, which helps to maintain uniform levels of expansion and contraction with metal parts in the lens, during temperature changes. Designed specifically for mirrorless lenses rather than being adapted from a DSLR lens, the DN edition is still much larger than most old-school 50mm f/ primes. Measuring 78x110mm, it’s actually 10mm longer than the original DG lens for DSLRs, although it’s shorter than the adapted E and L mount DG version for mirrorless lenses. It’s also rather lighter in weight, tipping the scales at 670g compared with the original lens’s DN lens is noticeably shorter and lighter than the Sony E and Leica L mount versions of the older DG lens. Image credit Sigma ImagingThere weren’t really any fancy frills in the DG lens in terms of handling, but there are plenty packed into the DN edition. The electronically coupled manual focus ring works with smooth precision and can be assigned other functions when you’re shooting in autofocus mode, as well as enabling full-time override of autofocus. The DN also adds an aperture control ring which operates in one-third f/stop click steps for stills and comes complete with a de-click’ switch to enable stepless control when shooting movies. A locking switch is also fitted so that you can lock the aperture ring in it’s a Auto position, avoiding any accidental rotation when you’re controlling the aperture from the host camera. It’s useful when you’re shooting in Program AE and Shutter-priority modes, or just want to use the relevant camera control dial. An AF-L Autofocus Lock button is also featured and you can customize its function where alternative options are available via the host camera’s menus.Image credit Sigma ImagingThe lens is supplied with high-quality petal-shaped hood and a padded soft case. The Leica L-mount version is also compatible with Sigma’s optional USB Dock for applying firmware updates and supplied lens hood has a locking button and the lens itself features a locking switch so that you can lock the aperture control ring at its Auto’ position, for camera-controlled aperture adjustments. The aperture ring also comes complete with a click/de-click switch. Image credit Sigma ImagingPerformancePerformance is absolutely outstanding in terms of sharpness and clarity. Epic levels of sharpness are maintained even when shooting wide-open at f/ not just in the central region of the frame but right out to the extreme edges and corners. The new DN lens easily steals a lead on the former DG edition in this respect. Autofocus performance lives up to its billing, with an excellent turn of speed and it’s virtually silent in operation. Manual focusing is very smooth and allows for very fine adjustments. Lateral chromatic aberration is even better controlled in the DN lens compared with its forebear, which was already very good. As such, there’s virtually no color fringing to be seen towards the edges and corners of the frame. Axial chromatic aberration is also minimal, so there’s very little fringing around high-contrast edges in scenes that fall just in front of or behind the plane of focus. Resistance to ghosting and flare is again impressive. Bokeh is lusciously soft and dreamy. We noticed some onion ring’ effect with the DG lens in defocused lights and bright spots but this is much more minimal in the DN lens. When shooting at f/ 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 imagesEXIF Sony A7R III + Sigma 50mm DG DN Art 1/1600 sec, f/ ISO 200 Image credit Matthew RichardsEXIF Sony A7R III + Sigma 50mm DG DN Art 1/1600 sec, f/ ISO 200 Image credit Matthew RichardsEXIF Sony A7R III + Sigma 50mm DG DN Art 1/160 sec, f/8, ISO 100 Image credit Matthew RichardsEXIF Sony A7R III + Sigma 50mm DG DN Art 1/8000 sec, f/ ISO 200 Image credit Matthew RichardsEXIF Sony A7R III + Sigma 50mm DG DN Art 1/5000 sec, f/ ISO 100 Image credit Matthew RichardsEXIF Sony A7R III + Sigma 50mm DG DN Art 1/8000 sec, f/ ISO 200 Image credit Matthew RichardsAuto vignetting & distortion corrections disabled Image credit Matthew RichardsVignetting & distortionAs shown in this pair of comparison images, vignetting is quite noticeable at f/ and there’s quite severe barrel distortion for a 50mm prime lens. The shots were taken with automatic in-camera corrections disabled and Image credit Matthew RichardsBokeh in defocused fairy lightsThis set of three images of defocused fairy lights were shot at f/ f/2 and f/ They show minimal onion ring’ effect and that the 11-blade aperture diaphragm remains well-rounded when stopping down a resultsWe run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms where available, then analyzed for sharpness, distortion and chromatic aberrations. We use Imatest SFR spatial frequency response charts and analysis software to plot lens resolution at the center of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing chromatic aberration. SharpnessImage credit FutureFor a fast f/ lens, corner-to-corner sharpness is absolutely scintillating when shooting wide-open and gets even more spectacular when stopping down a little. Particularly impressive is how consistently sharp the lens is across the entire image frame, right into the corners. Some prime lenses are engineered to be incredibly sharp in the center, but at the expense of mid-frame and corner sharpness. Not so the Sigma 50mm DG DN credit FutureLateral chromatic aberration is entirely negligible throughout the entire aperture range, even out at the edges and corners of the image frame. Axial chromatic aberration or bokeh fringing’ is often problematic at very wide apertures with fast lenses, but it’s very minimal in this the virtually distortion-free DG lens, the DN edition gives a level of pincushion distortion which can be rather noticeable when disabling in-camera correction. Reliance on auto correction has become increasingly common in recent lenses designed for mirrorless new and improved Sigma 50mm DN Art lens for Sony E and Leica L mount shaves some of the size and weight off the previous DG’ edition, while going extra-large on performance. It has quicker autofocus, a host of handling refinements and image quality to die for, combining epic sharpness even wide-open at f/ with beautiful bokeh. Even so, it’s still a big lens for a nifty fifty’ and relies a little on in-camera correction for pincushion more• Best camera lenses to get • Best Canon lenses • Best Nikon lenses • Best Sony lenses Thank you for reading 5 articles this month* Join now for unlimited accessEnjoy your first month for just £1 / $1 / €1 *Read 5 free articles per month without a subscription Join now for unlimited accessTry first month for just £1 / $1 / €1 Matthew Richards is a photographer and journalist who has spent years using and reviewing all manner of photo gear. He is Digital Camera World's principal lens reviewer – and has tested more primes and zooms than most people have had hot dinners! His expertise with equipment doesn’t end there, though. He is also an encyclopedia when it comes to all manner of cameras, camera holsters and bags, flashguns, tripods and heads, printers, papers and inks, and just about anything imaging-related. In an earlier life he was a broadcast engineer at the BBC, as well as a former editor of PC Guide. Incredible resolution perfect for the high-megapixel era. Introducing the new benchmark large-aperture standard lens. Designed to offer ultimate 50 mm performance, this refined lens perfectly represents the ideals of our Art line. Top optical performance makes it the ultimate go-to lens. An icon of SIGMA quality, this is the ideal standard lens. SIGMA was the first lens manufacturer to introduce a 50mm lens. Now, to create the ultimate go-to lens, we took optical performance and image quality to the limit. The result is a true icon of SIGMA quality. Fulfilling the concept of our Art line at the highest level, the 50mm DG HSM is a large-aperture standard lens that delivers top performance. Its outstanding resolution makes it ideal for the high-megapixel era. It delivers exquisitely balanced images with a beautiful bokeh effect, setting a new benchmark for large-aperture standard lenses. It is the ultimate expression of the 50mm specification, known to bring out the photographer’s unique personality and approach. Once you own it, you’ll never want to be without it! Features Offering the best 50mm performance in the history of photography, this is the ultimate standard lens Putting all of our largeaperture lens development know-how into this lens, we’ve minimized optical aberrations and achieved the very highest level of optical performance. The finest in materials, usability and functionality A refined, integrated design made with the photographer in mind. ESSENTIALS You'll find our philosophy and craftsmanship in every product Our new lineup fully expresses our approach to lenses and photography itself. All of our lenses belong to one of three lines—Contemporary, Art, or Sports—all of which share our development philosophy and advanced manufacturing system. High performance, high quality, and high end in every respect, these lenses give people who love photography lasting value and consistent, exciting results. The secret is our passion for craftsmanship that we put into every production process and every product. Specifications SLD glass ASPHERICAL LENS SIGMA × / × Sony × / × × / × *The length of a lens is measured from the filter surface to its mount. SIGMA SA-Mount815g / Sony E-Mount880g / 31oz. L-Mount905g / ・Case ・LENS HOOD LH830-02 ・FRONT CAP LCF-77mm III ・REAR CAP LCR II SIGMA SA-Mount 00-85126-31156-8 Nikon F Mount 00-85126-31155-1 Canon EF Mount 00-85126-31154-4 L-Mount 00-85126-31169-8 Sony E-Mount 00-85126-31165-0 Sony A-Mount discontinued High-precision, rugged brass bayonet mount The brass mount combines high precision with rugged construction. Its treated s… HSM Hyper Sonic Motor The Hyper Sonic Motor HSM is an original SIGMA development that uses ultrason… Rounded diaphragm The polygonal shape of a conventional iris dia phragm causes out-of-focus light… Exclusive low-dispersion glass The degree to which light is refracted by glass depends on the light's waveleng… Performance / Data MTF Chart Diffraction MTF Geometrical MTF The MTF chart gives the result at the wide-open aperture Spatial frequency SSagittal Line MMeridional Line 10lp/mm 30lp/mm MTF chart guide Distortion Vignetting Product Lineup 50mm DG HSM Art SIGMA SA-mount Supplied Accessories ・Case ・LENS HOOD LH830-02 ・FRONT CAP LCF-77mm III ・REAR CAP LCR II Barcode No. 00-85126-31156-8 Nikon F mount Supplied Accessories ・Case ・LENS HOOD LH830-02 ・FRONT CAP LCF-77mm III ・REAR CAP LCR II Barcode No. 00-85126-31155-1 Canon EF mount Supplied Accessories ・Case ・LENS HOOD LH830-02 ・FRONT CAP LCF-77mm III ・REAR CAP LCR II Barcode No. 00-85126-31154-4 L-Mount Supplied Accessories ・Case ・LENS HOOD LH830-02 ・FRONT CAP LCF-77mm III ・REAR CAP LCR II Barcode No. 00-85126-31169-8 Sony E-mount Supplied Accessories ・Case ・LENS HOOD LH830-02 ・FRONT CAP LCF-77mm III ・REAR CAP LCR II Barcode No. 00-85126-31165-0 Sony A-mount Supplied Accessories ・Case ・LENS HOOD LH830-02 ・FRONT CAP LCF-77mm III ・REAR CAP LCR II Barcode No. discontinued Support 50mm DG HSM Art Accessories Supplied Accessories LENS HOOD LH830-02 Barcode No. 00-85126-93023-3 FRONT CAP LCF-77mmⅢ Barcode No. 00-85126-93001-1 REAR CAP LCR Ⅱ * The image is for SIGMA. L-Mount Barcode No. 00-85126-93725-6 Sony E-mount Barcode No. 00-85126-92987-9 SIGMA SA-mount Barcode No. 00-85126-92949-7 Nikon F mount Barcode No. 00-85126-92950-3 Canon EF mount Barcode No. 00-85126-92951-0 Sony A-mount Barcode No. 00-85126-92952-7 Separately Sold Accessories WR CERAMIC PROTECTOR 77mm With many applications in aerospace and other industries, glass ceramics is an extremely tough type of crystallized glass that serves as the foundation for Clear Glass Ceramics. While featuring the high transmittance required of optical devices, this advanced new material combines greater hardness than chemically strengthened glass and greater flexibility than sapphire crystal glass. These qualities make Clear Glass Ceramics the ideal material for protective lens filters. * Thinner frame wide type. Barcode No. 00-85126-93182-7 PROTECTOR 77mm Normal 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. * Thinner frame wide type. Barcode No. 00-85126-93109-4 WR PROTECTOR 77mm 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. * Thinner frame wide type. Barcode No. 00-85126-93096-7 WR UV FILTER 77mm UV Water-repellent, Antistatic type. UV filter prevents the bluish tone that generates when the weather is fine, by absorbing ultraviolet rays. It is effective in most situations, such as landscape, portrait and general photography on a sunny day. It is also an ideal filter for regular use as it is completely colorless so does not affect color reproduction. * Thinner frame wide type. Barcode No. 00-85126-93070-7 WR CIRCULAR PL FILTER 77mm PL Water-repellent, Antistatic type. Circular PL filter removes the reflection of water surface and glass windows, and increases the contrast in landscape photography. * Thinner frame wide type. Barcode No. 00-85126-93083-7 USB DOCK UD-01 By connecting a SIGMA Art, Contemporary, or Sports lens to a computer with the SIGMA USB DOCK, photographers can update the lens firmware and adjust focus position and other parameters. SIGMA SA-mount Barcode No. 00-85126-87856-6 Canon EF mount Barcode No. 00-85126-87854-2 Nikon F mount Barcode No. 00-85126-87855-9 Sony A-mount Barcode No. 00-85126-87862-7 USB DOCK UD-11 Designed exclusively for the use with a SIGMA Contemporary, Art, or Sports lens and its accessories, the SIGMA USB DOCK allows users to update firmware and adjust the sensitivity of speed to the MF function* through the UD-11. * Scope of adjustment varies depending on specifications of the individual product. L-Mount Barcode No. 00-85126-87869-6 MOUNT CONVERTER MC-11 The SIGMA MOUNT CONVERTER MC-11 allows you to use your SIGMA SA mount and SIGMA EOS mount interchangeable lenses with the Sony E-mount camera body. SIGMA SA-E SIGMA SA-mount Barcode No. 00-85126-93251-0 CANON EF-E Canon EF mount Barcode No. 00-85126-93250-3 MOUNT CONVERTER MC-21 The SIGMA MOUNT CONVERTER MC-21 allows SIGMA SA mount and SIGMA’s CANON EF mount interchangeable lens owners to use their lens investment on L-Mount camera bodies. SIGMA SA-L SIGMA SA-mount Barcode No. 00-85126-93724-9 CANON EF-L Canon EF mount Barcode No. 00-85126-93723-2 Catalogs / Resources Manuals / Brochures SIGMA Lens Catalogue 2022 Autumn Brochures SIGMA Lens Catalogue 2022 Spring Brochures 50mm DG HSM Manuals Impressions / Samples Sony E-mount lenses ― from the ultra-high performing Art line. SONY E-mount Sony E-mount lenses ―from the ultra-high performing Art line. blur SIGMA Branded Content Dad wasn’t exactly stylish, and neither were the photographs he took—at least on the surface. But what truth did they conceal? SIGMA announce the new SIGMA 14mm DG DN Art - The world's first full-frame 14mm lens with an impressive aperture. 8 Jun 2023 104PM by ePHOTOzine Sigma 14mm DG DN Art Lens in Interchangeable Lenses Bring the night sky to life like never before with the SIGMA 14mm DG DN Art, the world’s first 14mm aperture lens for mirrorless cameras*. The lens has been designed from the ground up for wideangle applications such as astrophotography, landscapes, weddings and interiors, and is available in L-Mount and Sony E-mount. Thanks to advanced chromatic aberration and coma flare control the lens delivers exceptionally impressive edge-to-edge performance across all apertures, even when shooting very challenging subjects such as the night sky. The lens has an advanced feature-set including an aperture ring with both lock and de-click functions, a customisable AFL button, a Manual Focus Lock switch, a rear filter holder, and a built-in Lens Heater Retainer to hold a heat strip firmly in place. There’s also a newly redesigned front cap that securely locks onto the lens and features two compartments for storing sheet-type rear filters. With its ultrabright aperture and ultra-wide focal length this innovative and unique optic opens up a world of creative possibilities for nightscape, landscape, cityscape and interior photographers. * As an interchangeable lens for m irrorless cameras and SLR cameras excluding fisheye lenses, correct as of May 2023 Key features The world’s first full-frame 14mm lens with an aperture The SIGMA 14mm DG DN Art is the world’s first mirrorless lens with an angle-of-view this wide. The aperture is two thirds of a stop brighter than its predecessor the SIGMA 14mm DG HSM Art for DSLRs, which means it allows 58% more light on to the camera’s sensor. This makes it even better suited to photographing the night sky, as well as for using hand-held in dark environments. Optically optimised for astrophotography With its advanced optical design that includes 1 SLD, 3 FLD and 4 aspherical elements, the lens has been designed with astrophotography in mind. With a particular emphasis on optical quality at infinity focus, the lens has very well-controlled optical aberrations and sagittal coma flare, which ensures that bright points of light remain pin-sharp and round at all apertures and across the entire frame. The lens uses in-camera optical aberration control profiles to help correct for any distortion or vignetting, whereas optical issues that are more difficult to improve digitally, such as corner softness and chromatic aberration, are eliminated by the lens’s sophisticated optical design. Using optical aberration control selectively in this way helps to keep the size and weight of the lens down. A professional feature-set with superb build quality The 14mm DG DN Art has a professional feature-set that makes it easier for photographers and film-makers to achieve the best possible results. Built in to the barrel is an aperture ring, which can be set to auto for aperture control on the camera. With a very precise action, the ring can also be de-clicked if preferred, or locked in place so that it’s not accidentally knocked. At the front of the barrel is a Lens Heater Retainer, which was a feature introduced on the SIGMA 20mm DG DN Art. This helps hold a heat strip in place, which are often used by astrophotographers when shooting in cold conditions to prevent condensation build-up on the front element. The lens features a rear filter holder that allows sheet-type filters to be attached. Soft type filters are preferred by astrophotographers as they make stars appear softer, larger and brighter. Other types of sheet-type filter can also be used. A brand-new front lens cap has been specially designed with these types of filters in mind. Two filter slots are provided to store pre-cut sheet-type filters, allowing them to be carried with the SIGMA 14mm DG DN Art lens at all times. Previous lenses such as the SIGMA 14mm DG HSM Art used a push fit type cap. The new front cap now features a secure lock mechanism to prevent the cap from falling off unintentionally. An MFL manual focus lock switch can be found on the side of the lens barrel. This allows astrophotographers to find infinity then switch the MFL switch to Lock, which completely disables the focus ring. This means that even if the ring is knocked the focus will remain at infinity. As this type of ultra-wide-aperture lens is by nature relatively heavy, attaching the camera to a tripod using the camera’s tripod thread can make the set-up front-heavy, putting the thread under stain and making the camera unstable. So included with this lens is the TS-141 Tripod Socket, which ensures a more balanced set-up closer to the centre of gravity when mounted on a tripod. An AFL button is included on the lens barrel, which can be customised depending on the camera and system. The 14mm DG DN is fitted with Sigma’s new High-response Linear Actuator HLA motor, which delivers faster, smoother, quieter and more accurate focusing than a stepping motor. This is only the third Sigma lens to be designed with this technology, ensuring very responsive focusing in all shooting situations. Feature summary Lens construction 19 elements, 15 groups 1 SLD, 3 FLD and 4 aspherical elements Inner focus system Compatible with high-speed autofocus HLA High-response Linear Actuator motor Compatible with lens aberration correction* Support DMF, AF+MF Compatible with AF assist function Sony E-mount only Super Multi-Layer Coating Aperture Ring Aperture Ring Click switch Focus Mode switch AFL button customisable on some models Petal-type Hood fixed MFL Manual Focus Lock switch Rear filter holder Specially designed front cap Filter slots, Lock mechanism Dust and Splash Resistant Structure Water and Oil Repellent Coating Front element Tripod Socket TS-141 Support for switching between linear focus / non-linear focus ring settings L-Mount only** Compatible with the SIGMA USB DOCK UD-11 Optional / L-Mount only Designed to minimise flare and ghosting Every single lens undergoes SIGMA’s proprietary MTF measuring system 11-blade rounded diaphragm High-precision, durable brass bayonet mount Made in Japan craftsmanship * Function available on supported cameras only. Available corrections may vary depending on the camera model. On cameras where aberration correction is controlled with ON’ or OFF’ in the camera menu, please set all aberration correction functions to ON’ AUTO. ** Only on compatible cameras. Key specifications Lens construction 19 elements, 15 groups 1 SLD, 3 FLD and 4 aspherical elements Angle-of-view Number of diaphragm blades 11 rounded diaphragm Minimum aperture F16 Minimum focusing distance 30cm Maximum magnification ratio 1 Dimensions max diameter x length × Weight 1170g Price £1399 On Sale 23rd June 2023 For more information on the SIGMA 14mm DG DN Art - Visit SIGMA UK View more product images of the SIGMA 14mm DG DN Art Lens on our Equipment Database. Sigma 14mm DG DN Art Lens Specifications ManufacturerSigma General Lens MountsSony E MountL-Mount Lens Focal Length14mmAngle of Aperturef/ Aperturef/16Filter SizeNo DataStabilisedNo35mm equivalent14mmInternal focusingYesMaximum magnificationNo Data Focusing Min Focus30cm Construction Blades11Elements19Groups15 Box Contents Box ContentsCase, Cover Lens Cap LC1014-01, Rear Cap LCR II, Tripod Socket TS-141, Protective Cover PT-41, Guide Plate GP-11 Dimensions View Full Product Details Support this site by making a Donation, purchasing Plus Membership, or shopping with one of our affiliates Amazon UK, Amazon US, Amazon CA, ebay UK, MPB. 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sigma 50mm f 1.4 art