Review Sigma 20mm f/1.4 Art op Sony A7R mk2

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After Sigma broke world records for the world’s brightest zoom lens with the Sigma 24-35mm f/2 (for cameras with APS-C / DX sensors) and the Sigma 24-35mm f/2 (for cameras with a full-frame/FX sensor), now it is the turn of a Sigma lens with a fixed focal length to break a world record: the world’s first 20mm f/1.4 ultra-wide angle lens for cameras with a full-frame sensor. This is a fantastically bright lens, which offers sensational new creative possibilities. If, with a wide-angle lens with a focal length of 24mm, or even less as in this case, on a camera with a full-frame sensor, you want to play with background blur/bokeh, then you need a bright lens. A very bright lens. The focal depth even at f/2.8 is already very big when you are using a lens with a 20mm focal length. The choice between bokeh and focal depth, coupled with an extremely bright wide-angle lens, makes this new world record holder attractive, perhaps even a must, for many photographers.

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Review Sigma 50-100mm f/1.8 DC HSM Art

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In theory, a lens with a fixed focal length is better than a zoom lens. With a zoom range of 1—so a fixed focal length—you need to make fewer compromises in the design of a lens than for the design of a zoom lens. A good zoom lens is also more difficult to build because the lens design consists of more lens elements and parts. Even so, there are a few zoom lenses that are so good that in practice they are just as good as the very best lenses with a fixed focal length. In theory, they should be beaten by fixed focal length lenses, but that is not seen even on the very best cameras in practice shots. More to the point: There are a great many lenses with a fixed focal length that deliver a poorer image quality than the very best zoom lenses.

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Review Sigma 24-35 mm f/2 DG HSM Art with Nikon D7200

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Is the Sigma 24-35 mm f/2 Art an alternative for the Sigma 18-35 mm f/1.8 Art? The Sigma 18-35 mm f/1.8 (the world’s first zoom lens for cameras with an APS-C/DX sensor with a sensational brightness of f/1.8) is the most obvious if you want to have a high-quality, bright zoom lens for a camera with an APS-C sensor. At every focal length, the Sigma 18-35 mm f/2.8 was just as good as—or even better than—a lens with a fixed focal length and the same brightness. But if you are ever planning to switch to a camera with a larger sensor, then the new Sigma 24-35 mm f/2 might be a better choice. Even if you have to give up some field of view for it.

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Review Sigma 20 mm f/1,4 Art

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Focus to 7 meters’ distance at 20 mm. At f/1.8, the focal depth is from 3.5 meters to infinity. At f/1.4, the focal depth is “only” 28 meters (from 4 to 32 meters). That makes a difference in the bokeh

After Sigma broke records for the world’s brightest zoom lens with the Sigma 18-35mm f/1.8 Art (for cameras with APS-C/DX sensors) and the Sigma 24-35mm f/2 (for cameras with a full-frame/FX sensor), it is now the turn of a Sigma lens with a fixed focal length to break world records: the world’s first 20 mm f/1.4 ultra-wide-angle lens for cameras with a full-frame sensor. This is a fantastically bright lens that offers sensational new creative options. If you want, on a camera with a full-frame sensor, to be able to play with the background blur/bokeh using a wide-angle lens with a focal length of 24 mm, or in this case even less, then you need a very bright lens. A very bright lens. The focal depth even at f/2.8 is already really big if you use a lens with a 20 mm focal length. The choice between bokeh and focal depth, linked to an extremely bright wide-angle lens, makes this new world-record holder attractive to many people. Perhaps a “must.”

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Review Sigma 24-35 mm f/2 DG HSM Art

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With the introduction of Sigma 24-35 mm f/2 Art (“3 bright lenses in one”: 24 mm, 28 mm and 35 mm), Sigma repeats the feat that they previously accomplished with the Sigma 18-35 mm f/1.8 (“the world’s first f/18 zoom lens for cameras with an APS-C/DX sensor”). At every focal length, the Sigma 18-35 mm f/2.8 was just as good as—or even better than—a lens with a fixed focal length and the same brightness. That was unparalleled. A zoom lens with not only the brightness of a fixed focal length, but also the image quality of a fixed focal length. After which many owners of a camera with a full-frame sensor at that time sighed, When will Sigma release a similar lens for us? Now.

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Review Sigma 24 mm 1.4 Art @ 5D MK3

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With the introduction of the Sigma 24 mm 1.4 Art, Sigma indicated that this was a lens with the highest optical performance in its class—the perfect lens for all kinds of subjects, from landscape to a starry night sky. Given the high quality of the previous bright Sigma Art fixed-focal point lenses (Sigma 35 mm f/1.4 Art and Sigma 50 mm 1.4 Art), coupled with a clearly attractive price tag (a suggested retail price under a thousand euros), the expectations are high.
Would Sigma succeed in meeting them?

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Review Sigma 150-600 mm C @ 650D

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The Sigma 150-600 mm Contemporary is an affordable telephoto zoom for amateur photographers. As far as zoom range and brightness are concerned, the Sigma 150-600 mm Contemporary gives nothing up to the more heavily built Sigma 150-600 mm Sports, which we reviewed previously. The Sigma 150-600 mm Contemporary will be delivered with a Canon, Sigma or Nikon mount. Right now, the Sigma 150-600 mm Contemporary is only available with the Canon mount. We previously reviewed the Sigma 150-600 mm Contemporary on a Canon 5D MK3 (full-frame sensor) and now on a Canon 650D (with an APS-C sensor). And the large group of owners of a Canon with an APS-C sensor (Canon 7D MK2, Canon 70D, Canon 760D, etc.) have a really great combination if they choose the Sigma 150-60mm Contemporary.  

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Review Sigma 150-600 mm Contemporary

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Just like the Tamron 150-600 mm, the Sigma 150-600 mm Contemporary is a telephoto zoom for amateur photographers. They are high-quality, extreme telephoto zoom lenses with a list price just above a thousand euros. As far as zoom range and brightness are concerned, the Sigma 150-600 mm Contemporary gives nothing up to the more heavily built Sigma 150-600 mm Sports, which we reviewed previously.
The Sigma 150-600 mm Contemporary will be delivered with a Canon, Sigma or Nikon mount. For now, the Sigma 150-600 mm Contemporary is only available with the Canon mount. We tested the Sigma 150-600 mm Contemporary on a Canon 5D MK3 (full-format sensor) and on a Canon 650D (APS-C sensor; review appears in a few weeks).

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Review Sigma 24 mm 1.4 Art @ 650D

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A few weeks ago, we published a Sigma 24 mm 1.4 Art vs Canon 24 mm f/1.4L II practice test. We then tried out both lenses on a camera with a full-format sensor (Canon 5D MK3) and on a camera with a smaller APS-C sensor (Canon 650D). We noted that Sigma with the 24 mm f/1.4 Art has again delivered a work of art. After we were previously surprised by the extremely good build and image quality of the Sigma 35 mm f/1.4 Art and the Sigma 18-35 mm f/1.8 Art, this was no longer a bolt of lightning out of the blue to us. But it remains a remarkable performance.
We are soon publishing a test of the Sigma 24 mm f/1.4 Art on a Canon 5D MK3, but we first want to put up a defense for the quality-conscious photographer who has a camera with an APS-C sensor. Equipped with a good lens, a camera with an APS-C sensor (Canon 70D or Canon 7D MK2) at a focal distance of 24 mm (38 mm full-format equivalent) delivers pictures with a higher image quality than practically all lenses (fixed and zoom) at a focal distance of 35 or 40 mm on a camera with a full-format sensor.

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Review Sigma 150-600 mm Sports @ 5D MK3

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It's time to celebrate, because the Sigma Sports series finally consists of two telephoto zooms: next to the Sigma 120-300 mm f/2.8 Sports—which did very well in our review—you can, as a sports or nature photographer, now also choose the Sigma 150-600 mm F5-6.3 DG OS HSM Sports. To make the party complete, Sigma has also released the associated teleconverters, with which—while retaining AF—you can bring subjects even closer, if a 600 mm focal length is not enough for you. Both Sigma Sports zoom lenses distinguish themselves from the current Art lenses because the Sports lenses have built-in image stabilization and because the AF for the Sports lenses is even more customizable with the optional USB dock and the Custom switch on the Sigma 150-600 mm Sports.

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Review Sigma 150-600 mm Sports @ 650D

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A few years ago, Sigma--as a result of their global vision--started releasing three fantastic series of lenses: Contemporary, Art and Sports. The Sigma Art lenses have since then one by one raised a furor with the highest possible build and image quality, with a price that for such quality would not be thought possible. Sigma is a modest player in the photography market and was surprised by the worldwide, surprisingly high demand for Sigma Art lenses. Less well known, but at least as good, is the Sigma Sports series, which has since recently consisted of two telephoto zooms: the Sigma 120-300 mm f/2.8 Sports and the Sigma 150-600 mm F5-6.3 DG OS HSM Sports.

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Review Sigma 50 mm 1.4 Art @ Canon 650D

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A smash on APS-C as well.

If you're looking for a great fixed-focal length portrait lens for a Canon APS-C camera, then you're looking for a bright lens with a focal length between 50 mm and 100 mm. The Sigma 50 mm 1.4 Art surprised us as the ultimate standard lens for Canon full-frame cameras, with an exceptionally high build quality and image quality. It is thus not really a surprise to discover that in this review the Sigma 50 mm 1.4 Art also landed on the top of the heap when tested on our Canon 650D test camera. On a Canon SLR camera with an APS-C sensor, this looks like a bright portrait lens, with a bokeh that gives nothing up to many portrait lenses on a camera with a full-frame sensor. In addition, it's also a perfect lens for concert photography, night photography and street photography.

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Review Sigma 18-200 mm C @ Nikon

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Will it be a Sigma 18-250 mm or a Sigma 18-200 mm Contemporary?

Sigma 18-200 C test

The Sigma 18-200 mm Contemporary is smaller, lighter and less expensive that its cohorts, such as for example the Canon 18-200 mm. In addition, in contrast to similar superzooms that we have reviewed so far, Sigma 18-250 mm, Tamron 18-270 mm and the Nikon 18-200 mm, the Sigma 18-200 mm C wins in terms of compactness, weight and list price. Those are important considerations for the target audience, amateur photographers who want to have a not-too-expensive all-around lens with a strong zoom range, in order to head out without having to haul along too much weight and without having to change lenses. Our first positive experiences with the Sigma 18-200 mm on a Canon 650D we previously published. Because we did not review the Sigma 18-250 mm on a Canon APS-C, we could not make a direct comparison of the image quality of both Sigma walk-around zooms. Now we can.

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Review Sigma 8-16mm

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Sigma 8-16 mm, perfect for Nikon DX camera's:

The Sigma 8-16 mm f/4.5-5.6 DC HSM is an extreme wide-angle zoom lens for camera with an APS-C sensor and has a field of view of 114.5-75.7 degrees. That is comparable with that of a 12-24 mm lens on a full-frame camera.
This is certainly no everyday lens because the field of view is larger than what the human eye can see. Therefore, you can, for example in landscape photography, achieve unusual effects. With the right preparation, the lens is also suitable for architectural shots, as we demonstrate below.

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Review Sigma 30 mm f/1.4 Art

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How attractive is a Sigma 30mm Art?

In recent months, several high-quality, bright lenses with a fixed focus have appeared, like the Sigma 35 mm f/1.4 and the Sigma 50 mm f/1.4. But what if you want to have a more compact, lighter and less expensive (under 500 euro) lens? Then the choice is very limited and the Sigma 30 mm 1:1.4 DC HSM Art in particular shows up. This bright standard lens for APS-C cameras provides a field of view similar to that of a 45 mm lens on an FX or full-frame camera. The ART addition indicates that a lens belongs in the upper segment. The advantage of such a bright lens is not so much working under low-light conditions, but the limited depth of field that you can achieve. Especially users who also film love it.

Sigma 30mm art lens review
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Review Sigma 50mm 1.4 Art

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Not long ago, we were completely bowled over by the extremely high quality of the Sigma 35 mm 1.4 Art. That applied for both image quality and construction quality. This lens shows what enormous progress some lens manufacturers have been able to achieve in design and production of lenses for digital cameras. It almost can't get any better.

Now (April 2014), a Sigma 50 mm f/1.4 DG HSM Art has come to market as the successor of the Sigma 50 mm f/1.4 EX from 2008. How do the two lenses compare to each other? At 470 grams, the 50 mm version is 2 ounces lighter than its 35 mm older brother. The suggested retail price at 879 euros is also 75 euros lower. For us, it's naturally about the construction quality and the image quality. Which Sigma Art lens is the best?

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Review Sigma 70-200 mm 2.8 APO EX DG (C FF)

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Cameras with a full frame sensor keep getting less expensive. Once you have a full-frame camera like a Canon 6D or a Canon 5D MK3, you, of course, will want to have good lenses as well. Unfortunately, the suggested retail prices for 70-200 mm f/2.8 zooms with image stabilization from Canon and Nikon top 2,000 euros. The Sigma 70-200 mm 2.8 APO EX DG OS is one of the few affordable choices for those enthusiasts who love a bright telephoto zoom.

There are many reasons to choose a 70-200 mm f/2.8. First of all, there is of course the beautiful background blur/bokeh, whereby a subject is beautifully isolated from the background. With the combination of field of view and high brightness, a 70-200 mm zoom lens is versatile: from photographing concerts, sporting events, and weddings to high-quality holiday photography..

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Review Sigma 18-200mm Contemporary

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The Sigma 18-200 mm Contemporary is smaller, lighter and cheaper than its classmates, like, for example, the Canon 18-200 mm. Also in comparison to similar superzooms that we have tested so far, Sigma 18-250 mm, Tamron 18-270 mm and the Nikon 18-200 mm, the Sigma 18-200 mm C wins in terms of compactness, weight and list price. These are important considerations for the target group, amateur photographers who want to have a not-too-expensive, all-round lens with a hefty zoom range, to be able to head out without having to lug a lot of weight along and without having to change lenses. We previously published our first, very positive, experiences with the Sigma 18-200 mm. Now we had the opportunity to test this lens more comprehensively. How good is the optical performance of the first superzoom in the Sigma Contemporary series?

Sigma 18-200 C test

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Review Sigma 35 mm 1.4 ART @ Nikon D7100 (N APSC)

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A bright 50 mm f/1.8 standard lens is much loved by photographers with a full-frame camera. Understandably. The field of view and perspective are consistent with what you perceive with the naked eye, making pictures appear natural. You get sharp images with a nice background sharpness at an attractive price.
If you would like the same image quality on a camera with a DX or APS-C sensor, simply choose a 35 mm f/1.4 lens. The choice for a Sigma 35 mm 1.4 Art is obvious, because we know from an earlier test that the Sigma 35 mm f/1.4 Art scores fantastically well in combination with a Nikon D800E. If we pair this high flyer with a Nikon D7100, then you get just as sharp images, with an equally beautiful bokeh, as pictures made with a standard lens on a camera with a full frame sensor. In addition, the Sigma 35 mm f/1.4 Art on a Nikon D7100 suffers less from distortion and vignetting than a standard lens on a full frame camera.

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Review Sigma 24-105 mm f/4 Art (C APS-C)

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With the Art series, Sigma has built a series of lenses that in terms of build and image quality are better than the best lenses from the competition, including the biggest camera brands. This time, we tested the Sigma 24-105 mm Art on a Canon 650D, a camera with an APS-C sensor, for two groups of readers. Most of our readers have an SLR camera with an APS-C sensor. Some of them are considering stepping up to a camera with a full frame sensor and keep that in mind when purchasing their lenses. And there are photographers who use their lenses both on a camera with a full frame sensor and on a camera with an APS-C sensor. For both groups of photographers, the Sigma 24-105 mm f/4 Art is an attractive lens that they will enjoy for a long time.

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