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.
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.
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.
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.
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.
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.
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.
Will it be a Sigma 18-250 mm or a Sigma 18-200 mm Contemporary?
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.
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.
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.
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?
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..
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?
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.
|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.|
|Is the Sigma 50-150 mm f/2.8 the best kept secret in lens country? It might be. The Sigma 50-150 mm F2.8 APO EX DC OS HSM is only suitable for SLR cameras with an APS-C sensor. If you use this lens on a camera with a full frame sensor, then you get some vignetting at the edges. That a lens is only suitable for APS-C is becoming more common. The same is true for all Canon EF-S lenses. |
What the Sigma 50-150 mm so special, we will tell you in advance, are the good optical performance. This lens would be released in 2013, then it would definitely be a member of the Sigma Art family. In fact, the Sigma 50-150 mm f/2.8 is both in terms of image quality and zoom range, the perfect partner for the Sigma 18-35 mm f/1.8 Art.
|To the surprise of many, in October 2013 the Sigma 24-105 mm f/4 Art lens, suitable for an APS-C and a full-frame camera, was announced. We hadn't expected that. The 24-105 mm zoom is a popular zoom lens among Canon photographers, due to the broadly useful zoom range and because it's sold as a kit lens with various Canon full-frame SLR cameras. Some portrait photographers prefer a 24-105 mm zoom lens to a 24-70 mm, because that model at a focal length of 105 mm gives a bit more flattering portrayal if you make a full-screen portrait. At 24-105 mm, this is a bit more universal than a 24-70 mm zoom. It's possible that may have been a consideration for Sigma in bringing out this lens.|
In terms of specifications, finish, image quality and price we're dealing with a "game changer"; that's what we wrote in our review of the Sigma 18-35 mm 1.8 Art with a Canon 650D. Would this lens would be able to perform even better if you used it in conjunction with the 24 megapixel sensor sans moiré filter Nikon D7100?
There are many nature photographers who use a telephoto lens on a camera with an APS-C sensor. The view angle becomes with the smaller APS-C sensor, 1.6x smaller than with a camera with a full frame sensor, making it seem as if you have a telephoto lens with a 1.6x longer focal length. The Sigma 120-300 mm Sports is the first lens in the Sigma Sports series and resembles its predecessor in some ways.
The Sigma 105 mm 2.8 OS Macro has entered the market in the summer of 2011. A big difference with the previous model is the built-in image stabilization. The focal length of 105 mm is sometimes a bit tight on a full-frame camera in macro photography; you are often working in your own shadows then. In this regard, a 150 mm or a 180 mm macro is preferred. A focal length of 105 mm is very useful as a portrait lens in many cases. And if you enjoy working with primes, the Sigma 105 mm 2.8 Macro OS is a logical step after a 50 mm standard lens. The actual price at the moment is much lower than the suggested retail price at its introduction, which makes this Sigma macro lens even more attractive.
More Articles ...
- Review Sigma 180mm f/2.8 EX DG OS HSM APO Macro (C APS-C)
- Review Sigma 120-300mm f/2.8 DG OS HSM Sports (C FF)
- Review Sigma 18-35mm f/1.8 DC HSM Art (C APS-C)
- Review Sigma 85 mm 1.4 EX DG HSM (N FF)
- Sigma 35 mm 1.4 ART review @ Nikon D800E (N FF)
- Review Sigma 17-70 mm contemporary
- Sigma 18-250 mm review (N-APS-C)
- Sigma 35 mm 1.4 review
- Sigma 12-24 mm II review
- Review Sigma 17-50 mm 2.8 & Nikon D3200 (N APS-C)
- Review Sigma 85 mm/1.4 EX DG HSM (N APS-C)
- Review Sigma 105 Macro
- Review Sigma 70-200mm f/2.8 EX DG OS HSM APO (SIG)
- Review Sigma 105 mm f/2.8 EX DG OS HSM Macro (SIG)
- Review Sigma 10 mm f/2.8 EX DC Fisheye HSM (SIG)
- Review Sigma 70mm macro
- Review Sigma 19 mm/2.8 EX DN (M43)
- Review Sigma 30 mm f/2.8 EX DN (M43)
- Review Sigma 17-70 mm 2.8-4.0 DC Macro OS HSM (C APS-C)
- Review Sigma 70-200 mm 2.8 APO EX DG OS (C APS-C)