Can I Shoot Portraits With a Sigma 70100 28 Art Lens
Sigma 28mm f/1.4 DG HSM Art Lens Review
With the 28mm f/1.4 DG HSM Fine art Lens, Sigma injects another round of excitement into the Global Vision Fine art series. When the Sigma 24mm f/1.four DG HSM Fine art Lens is too wide and the Sigma 35mm f/ane.four DG HSM Art Lens is too long, the Sigma 28mm f/1.iv DG HSM Art Lens will be found just right. The 28mm version may also be found just right because of its optical superiority, the sharper option, and that reason solitary is going to bring this lens plenty of attention.
Announced on the same twenty-four hour period, sharing many similarities and being simultaneously reviewed with this lens is the Sigma 40mm f/1.4 DG HSM Art Lens. Both of these lenses are relatively large and heavy for their form, only about of usa are willing to overlook that attribute to gain the superior optical designs built into these lenses.
As with the rest of the Sigma Fine art lenses, the aesthetics and build quality of the 28mm f/1.4 Art lens will too impress. The 28mm focal length is very useful with potent general-purpose utility. This is not a inexpensive lens, but from a relative perspective, peculiarly considering the near-best-in-course image quality, it is non high either. Autofocus performance? Read on.
Focal Length
What are the uses for a 28mm lens? That is an important question that you lot should exist request. With a prime number lens, yous get one focal length and your lens pick should begin with the focal length. Having the angle of view that best suits the requirements of the subject is of paramount importance.
As with the 40mm f/1.4 Art lens, the image quality this lens delivers volition cause yous to try to make its focal length work for even fringe purposes. Fortunately, again like the 40mm choice, this focal length has dandy general-purpose utility.
While 28mm seems very similar to 24mm and 35mm, at that place is a noticeable deviation between these focal lengths and some photographers need the 28mm option, either in lieu of or in addition to one or both of the alternatives. The angle of view difference between 24mm, 28mm, and 35mm is illustrated beneath.
Patently, 28mm frames modestly tighter than 24mm and a bit wider than 35mm. Though plainly different, the middle option mostly combines the uses of the other 2 and many times a 28mm lens is platonic for general-purpose use.
Photojournalism is a great use of the 28mm focal length. Portrait and nuptials photographers will love the 28mm focal length for full body and small group portraits. Whatsoever focal length can exist dandy for mural photography, but the 28mm pick is a frequently used one.
Sports photographers able to get shut to their subjects (such equally basketball game shot from over or under the cyberspace) or wanting to capture a wider/ecology view of their events will appreciate this focal length. A 28mm lens is great for capturing indoor events.
Want a walk-effectually lens? I've enjoyed carrying this lens around on the street, simply looking for subjects that catch my eye.
The 28mm focal length paired with a wide discontinuity is peculiarly highly-seasoned for creative photography and likewise night sky photography.
Every bit usual, I've only scratched the surface of the list of uses here.
APS-C sensor format cameras utilize a smaller portion of the image circle and that means a scene is framed more than tightly, with 1.5x or 1.6x being the angle of view multiplier for Canon, Nikon and Sony'southward lineup. A 28mm lens backside one of these cameras results in a 42mm or 44.8mm full frame bending of view equivalent. The uses for these angles of view do not vary profoundly from the native 28mm full frame angle of view, merely more working infinite is required for the same subject area framing. The narrower angle of view encourages a more-pleasing portrait perspective and/or tighter portrait framing.
Max Aperture
When y'all purchase a prime lens instead of a zoom, you lot expect at least 1 strong advantage to offset the loss of zoom range versatility. Mutual advantages include smaller size, lighter weight, lower price, better image quality, and/or a wider aperture. This prime lens does not check the first iii boxes, just it definitely covers the final two. I'll discuss image quality in the side by side section, but with only a few exceptions, the f/1.4 max discontinuity made available by this lens is as broad equally DSLR and MILC (Mirrorless Interchangeable Lens Photographic camera) lenses get and no autofocus lens wider than 50mm exceeds the 28 Art's maximum aperture.
The wider the aperture, the more than light is able to accomplish the imaging sensor. Allowing more light to accomplish the sensor permits freezing activity, handholding the camera in lower light levels and/or use of a lower (less noisy) ISO setting. It seems that there is always enough light for this lens to capture a sharp image.
Increasing the aperture opening also permits a stronger, better subject-isolating groundwork blur (at equivalent focal lengths). The shallow f/1.4 depth of field must of course exist acceptable to you in these circumstances, but shallow depth of field is a highly-desired lens capability, splendid for making the subject pop from a blurred background. Longer focal length lenses are better at creating a strong background blur, but this i tin can go the task done if the subject is close plenty equally illustrated in the maximum mistiness example below.
Those looking for a prime number lens often already have a full general-purpose zoom lens in their kits and 28mm is typically covered by that lens. Compare the background mistiness of your lens at its maximum-available aperture at 28mm.
Specially if your lens opens to just f/iv or similar at 28mm, the difference between it and f/i.4 is quite noticeable.
An f/1.4 aperture enables the higher precision AF capabilities (most often the heart AF point) in all cameras supporting this characteristic and f/1.4 presents a bright DSLR viewfinder epitome. This wide aperture is particularly valuable afterwards the lord's day sets, in the shade and when shooting indoors, including indoors using only ambient window light.
Notation that, especially under total sun atmospheric condition, even a ane/8000 shutter speed will often exist not fast plenty to avoid diddled highlights in f/one.iv images (utilise a neutral density filter to avoid this problem).
Paradigm Quality
A useful focal length and wide aperture are great to accept, just if the lens does not produce high-enough quality images at that aperture, that wide aperture is of less value. While few of us buy lenses to shoot examination charts with, these charts are quite revealing of the performance of a lens. The blackness and white nautical chart details chop-chop reveal whatever flaws present.
Examination chart captures from the 28 f/1.four Art lens show the states that in the centre through full frame periphery of the image circle, this lens performs very well at f/1.4 and, specially with contrast improving, noticeably ameliorate only i/3 stop down at f/i.6. This lens' f/2 results are really impressive and the f/2.8 results are crawly. This lens is ultra-high-resolution-ready.
In addition to our standard lab tests, I like to share some real-world examples. The images below are 100% resolution crops from images captured in RAW format using a Catechism EOS 5Ds R. The images were processed in Canon'south Digital Photo Professional using the Standard Movie Style with sharpness set to "1" (Note that images from almost cameras crave some level of sharpening but too-high sharpness settings are destructive to image details and hide the deficiencies of a lens). These examples are from the center of the frame.
Viewed on their own, the f/1.iv results are very good and, with a pocket-sized amount of dissimilarity and sharpening added, they are easily useable. Because the f/2 results are so impressive, they appear considerably better than the f/i.iv results, making the wide-open results appear not equally expert every bit they really are. The f/ii.viii results are simply stunning.
Focus shift, the airplane of sharp focus moving forward or astern as the aperture is narrowed (remainder spherical aberration), is not an outcome with this lens.
Here is a look at the extreme bottom-left corner image quality (the subject was manually focused in the corner).
The wide-open corners are a touch soft, but they have sharpness and contrast adjustments well. Extreme corner sharpness improves through f/four where the results are looking quite impressive.
Does corner sharpness matter? Sometimes it does, sometimes it doesn't. Landscape photography is one photographic discipline this lens is suited for that has frequent scenarios requiring abrupt corners. Yet, those scenarios ordinarily require apertures narrower than f/4. When shooting at the widest apertures, depth of field is often shallow and the plane of sharp focus less-oftentimes includes a corner, making corner sharpness less important. I ever prefer my lenses to be razor sharp in the corners, in case I need that feature, only each of us must consider our ain applications to answer this paragraph's initial question.
When used on a camera that utilizes a lens' entire image circle, peripheral shading can be expected at the widest aperture settings. Wide angle, ultra-wide aperture lenses tend to bear witness strong peripheral shading wide-open up and the about-3.5-stops of shading in the 28 f/1.iv Art's corners is relatively stiff, but non unexpectedly and so. Stopping downwardly one stop reduces the shading by about fifty% to just over 1.5-stops. At f/2.eight, the shading drops merely under the often-visible 1-cease mark to about 0.viii-stops. Shading stops clearing at f/four with about 0.6-stops remaining in the corners throughout the balance of the aperture range.
Vignetting can be corrected during post processing with increased dissonance in the brightened areas being the penalty. Vignetting tin can also exist embraced, using the effect to describe the viewer'due south eye to the center of the frame.
The result of different colors of the spectrum being magnified differently is referred to as lateral (or transverse) CA (Chromatic Aberration). Lateral CA shows as color fringing along lines of strong dissimilarity running tangential (meridional, right angles to radii) with the mid and especially the periphery of the image circle showing the greatest amount as this is where the greatest difference in the magnification of wavelengths exists.
While lateral CA is usually hands corrected with software (often in the photographic camera) past radially shifting the colors to coincide, it is of grade meliorate to not have it in the first place. Any colour misalignment nowadays can easily be seen in the site's image quality tool, only let's likewise expect at a worst-case case, a 100% crop from the extreme tiptop left corner of an ultra-high-resolution 5Ds R frame.
In that location should be only blackness and white colors in these images and the additional colors are showing lateral CA. This lens has a moderate amount of lateral CA, especially so for a prime number lens.
A relatively common lens aberration is axial (longitudinal, bokeh) CA, which causes non-coinciding focal planes of the diverse wavelengths of light, or more simply, different colors of low-cal are focused to different depths. Spherical aberration forth with spherochromatism, or a modify in the amount of spherical abnormality with respect to color (looks quite similar to axial chromatic aberration just is hazier) are other common lens aberrations to look for. Centric CA remains at to the lowest degree somewhat persistent when stopping downward with the color misalignment effect increasing with defocusing while the spherical aberration color halo shows piffling size change as the lens is defocused and stopping downward one to two stops generally removes this aberration.
In the real earth, lens defects do not exist in isolation with spherical aberration and spherochromatism by and large institute, at least to some degree, along with axial CA. These combine to create a less sharp, hazy-appearing image quality at the widest apertures.
In the instance above, the fringing colors in out of focus areas of the paradigm with specular highlights in the foreground showing royal and in the background showing green point that perfection has non been achieved, but these results are not bad for an f/1.four max aperture lens. Stopping downward improves the results in this regard.
Flare is caused by bright light reflecting off of the surfaces of lens elements, resulting in reduced dissimilarity and interesting artifacts. The shape, intensity, and position of the flare in an image is variable and depends on the position and nature of the light source (or sources) likewise equally on the selected aperture, shape of the aperture blades and quality of the lens elements and their coatings. Most lenses testify the to the lowest degree amount of flare effects in our sunday-in-the-corner tests at their wide-open apertures and this one performs extremely well at f/1.four. Flare always increases as the aperture narrows and by f/16, this lens is showing a moderate amount of flaring, an amount normal for this lens grade.
There are two lens aberrations that are particularly evident when shooting images of stars, mainly because bright points of calorie-free against a dark background make them easier to come across. Coma occurs when calorie-free rays from a point of light spread out from that indicate, instead of being refocused as a signal on the sensor. Coma is absent in the center of the frame, gets worse toward the edges/corners and mostly appears as a comet-like or triangular tail of lite which can be oriented either abroad from the center of the frame (external coma), or toward the center of the frame (internal coma). Astigmatism is seen as points of lite spreading into a line, either sagittal (radiating from the center of the image) or meridional (tangential, perpendicular to sagittal). Lateral CA is an additional aberration credible in the corners.
The epitome beneath is a 100% crop taken from the farthermost superlative-left corner of an EOS 5Ds R frame.
According to this lens, the flying saucers are coming. While these results practice not appear stellar, they are not unusual for lenses in this form.
The 28 f/one.iv Fine art has a slight corporeality of barrel distortion that is primarily noticeable as the corners beingness pinched slightly toward center frame. If you lot expect advisedly at the unforgiving horizontal lines running along the lesser of the frame in the image below, y'all volition notice them curving upwardly at the sides.
A 28mm lens is not going to create the world'south strongest groundwork mistiness, but with an ultra-wide f/1.4 aperture, this lens competes with the best in its class. Not as easily discerned is bokeh, referring to the quality of that blur. Here are some examples of out-of-focus specular highlights.
Stopped down five stops to f/8, the discontinuity blades are strongly influencing the bokeh and these results announced OK with the centers of these effects being non completely smooth.
The "CE" results reference the true cat's eye bokeh effect, a course of mechanical vignetting, seen in the corners, the meridian-left in these examples. If you look through a tube at an angle, like to the low-cal reaching the corner of the frame, the shape is not round and that is the shape seen hither. As the aperture narrows, the archway pupil size is reduced and the mechanical vignetting absolves with the shapes becoming round.
As the aperture gets narrower, point light sources have on a starburst result and, in my experience, the wider the max aperture of the lens, the stronger the star effect a lens can produce.
When stopped downwards, this lens' 9-blade aperture produces cute 18-indicate stars from point low-cal sources.
Like its sibling 40 f/1.4 Art, this lens has a very interesting lens-chemical element-dense pattern.
Though not perfect, with mostly aberrations showing in the image circle periphery, the Sigma 28mm f/1.four DG HSM Art Lens is a very optically-impressive lens. It competes very strongly against the sharpest 28mm lenses available.
Focusing
To engagement, all Art lenses feature Sigma'due south premium HSM (Hypersonic Motor) AF system.
The 28 Art's AF system has decent speed with the amount of distance change beingness a significant factor in the experienced AF lock time. Focus at minimum focus distance and then at infinity and you will probable consider the speed rather boring every bit you lot look for the subject to come up into focus. Focus on i subject and so on a nearby subject and the lock time will seem very fast. Equally usual, focusing speeds are reduced in low light and some pocket-sized autofocus distance adjustments are often made afterwards the initial focus conquering, increasing the overall AF lock times of fifty-fifty shorter distance adjustments.
This lens focuses very quietly with only a quiet shuffling ("shhhh") along with sometimes clicks beingness heard (if focusing in a quiet surround). Focusing is internal and FTM (Full Time Transmission) focusing is supported (unless intentionally disabled using the Sigma Dock).
With an ultra-broad discontinuity lens being able to produce very shallow depth of field at close distances, the AF organization'due south accuracy takes on increased importance – far more importance than autofocus speed to well-nigh of usa. A mis-focused image heads straight to the trash can about of the fourth dimension, AF accuracy performance testing is always a high priority for me and feel has taught me to be especially sensitive to third party lens functioning in this regard. While some of Sigma'south recent lenses have been turning in skilful very AF accurateness for me, to put it bluntly, this one has non. Before going any farther, I want to notation that sensor-based AF systems, including DSLR live view and mirrorless interchangeable lens cameras, will focus this lens very accurately. The conventional DSLR phase detection AF systems I have been testing with proved troublesome.
With an ultra-high-resolution Canon EOS 5Ds R behind it, the 28 Art'south inconsistent AF performance is magnified. Performance from the Canon EOS-1D X Mark II seems improve, simply the lower resolution of this imaging sensor probably accounts for most of the change. On the 1D X Two, prefocusing to a distance across the subject seemed to produce improved accuracy, but the 1D X II's peripheral AF points seemed to produce reduced accurateness. It is not unusual for Sigma to release lens firmware updates addressing AF issues, so scout for such for this lens.
Focus scale is too a key to authentic focusing with conventional DSLR stage detection AF systems and the Art lens' compatibility with the Sigma Dock (more later) ensures that this consequence, should it exist, tin be hands resolved. Cameras with the autofocus microadjustment feature likewise have the ability to accommodate calibration in-photographic camera, although the Dock does allow for more granular calibration (such as by bailiwick altitude).
When this lens' focus distances are changed significantly, await subjects change size a moderate amount. While this focus animate aspect is not unusual, photographers intending to use focus stacking techniques involving focus distance adjustment, videographers pulling focus and anyone very-critically framing a scene should be aware.
Every bit usual for an Art lens, Sigma provides a focus distance window and a depth of field scale is provided, though f/viii and f/16 are the just marks included.
The 28 Art lens' manual focus ring is significant in size, measuring 1.88" (47.7mm) and like shooting fish in a barrel to find. The focus ring is very polish, has no play and has platonic resistance. Completing this lens' excellent manual focus design is the 110° of rotation that provides for platonic manual focusing precision over the entire focus distance range. This focus ring makes altitude adjustments by turning in the same direction as Canon and Sony lenses, opposite that of Nikon lenses.
The Sigma 28mm f/1.4 Fine art Lens volition win no awards for its close focusing capabilities. Wide aperture prime lenses are not often amazing in this regard, but the 11.0" (280mm) minimum focus distance results in a respectable 0.19x maximum magnification. Following is a comparison table showing minimum focus altitude (MFD) and maximum magnification (MM) for a selection of at least somewhat like lenses.
| Model | MFD | MM | |
| Canon EF 28mm f/one.8 USM Lens | nine.eight" | (250mm) | 0.18x |
| Canon EF 28mm f/two.eight IS USM Lens | 9.1" | (230mm) | 0.23x |
| Nikon 28mm f/one.4E ED AF-South Lens | 11.0" | (280mm) | 0.17x |
| Catechism EF 35mm f/1.4L Ii USM Lens | 11.0" | (280mm) | 0.21x |
| Nikon 28mm f/1.8G AF-Due south Lens | ix.8" | (250mm) | 0.22x |
| Nikon 28mm f/1.4E ED AF-S Lens | xi.0" | (280mm) | 0.17x |
| Nikon 28mm f/one.8G AF-Southward Lens | 9.8" | (250mm) | 0.22x |
| Nikon 35mm f/ane.4G AF-S Lens | 11.8" | (300mm) | 0.20x |
| Sigma 28mm f/ane.4 DG HSM Art Lens | eleven.0" | (280mm) | 0.19x |
| Sony Iron 35mm f/1.4 ZA Lens | 11.8" | (300mm) | 0.18x |
| Tamron 35mm f/i.viii Di VC USD Lens | vii.9" | (200mm) | 0.40x |
| Zeiss 28mm f/one.4 Otus Lens | xi.8" | (300mm) | 0.16x |
Following is a comparison table of all the Sigma full frame prime Fine art lenses (every bit of review time).
| Sigma 14mm f/ane.8 DG HSM Fine art Lens | 10.6" | (270mm) | 0.10x |
| Sigma 20mm f/i.four DG HSM Art Lens | 10.9" | (277mm) | 0.14x |
| Sigma 24mm f/1.iv DG HSM Art Lens | 9.8" | (250mm) | 0.19x |
| Sigma 28mm f/1.four DG HSM Fine art Lens | eleven.0" | (280mm) | 0.19x |
| Sigma 35mm f/1.iv DG HSM Art Lens | 11.8" | (300mm) | 0.19x |
| Sigma 40mm f/i.4 DG HSM Fine art Lens | 15.7" | (400mm) | 0.15x |
| Sigma 50mm f/one.four DG HSM Fine art Lens | 15.7" | (400mm) | 0.18x |
| Sigma 70mm f/2.8 DG Macro Art Lens | 10.two" | (258mm) | 1.00x |
| Sigma 85mm f/one.4 DG HSM Fine art Lens | 33.5" | (850mm) | 0.12x |
| Sigma 105mm f/1.4 DG HSM Fine art Lens | 39.four" | (1000mm) | 0.12x |
| Sigma 135mm f/1.8 DG HSM Art Lens | 34.4" | (875mm) | 0.20x |
The largest orchid bloom in the minimum focus distance sample image below measures nearly 2.5" (six.35cm) in width.
A adept pick for reducing this lens' minimum focus distance is an extension tube. By positioning the lens farther away from the photographic camera, extension tubes allow the lens to focus to a closer distance, increasing maximum magnification, though infinity and long altitude focusing are sacrificed. Virtually are going to find a 12mm extension tube to be an OK solution for this lens, though the focus altitude range is very close to the front element of the lens with image quality beingness decent with some peripheral softness. A 25mm extension tube is too strong for this focal length with the range of focus distances starting at extremely shut and getting closer from in that location. Lighting subjects at these distances is very challenging.
This lens is not compatible with Sigma teleconverters, another pick commonly used to increase maximum magnification.
Build Quality & Features
With a strong resemblance showing throughout the line, Sigma's Global Vision series Art lenses all have a swish mod styling, visually featuring diverse reflectivity levels of black finish and the build quality seems great.
The 28 Fine art's exterior features quality Thermally Stable Composite material construction with metal used for the glossy black mountain end and of course utilized liberally internally. The barrel diameter changes only slightly throughout the length of the lens aside from at the mount end where diameter growth always occurs. The focus ring feels great and a 180° section of the butt is mold-ribbed to facilitate grip.
The AF/MF switch, similar the residue of the Art lenses, has a white background indicator when in the AF position. The switch is easy to find on its raised switch banking company and it is house with a strong click into position. This lens has some weather sealing, including a rear gasket seal as seen beneath.
Broad aperture lenses require wide bore lens elements and, as seen in the pattern illustration shared earlier in the review, this lens has a lot of densely-bundled elements. Those add upwards to a noticeable weight for this lens' modest size. Overall, this lens is large and heavy for its class, only it has a very comfortable size to use and I haven't minded the weight.
Permit's compare:
| Model | Weight | Dimensions w/o Hood "(mm) | Filter | Twelvemonth | ||
| Canon EF 28mm f/one.8 USM Lens | 10.nine | (310) | 2.9 x 2.2 | (74.0 10 56.0) | 58 | 1995 |
| Catechism EF 28mm f/2.viii IS USM Lens | 9.two | (260) | 2.vii x 2.0 | (68.4 x 51.v) | 58 | 2012 |
| Canon EF 35mm f/1.4L II USM Lens | 26.viii | (760) | three.2 x 4.2 | (lxxx.4 x 105.five) | 72 | 2015 |
| Nikon 28mm f/1.4E ED AF-South Lens | 22.8 | (645) | 3.3 x 4.0 | (83.0 x 100.5) | 77 | 2017 |
| Nikon 28mm f/i.8G AF-S Lens | xi.vi | (330) | ii.9 x iii.2 | (73.0 x 80.5) | 67 | 2012 |
| Nikon 35mm f/1.4G AF-Due south Lens | 21.two | (600) | 3.3 x three.v | (83.0 10 89.5) | 67 | 2010 |
| Sigma 28mm f/1.4 DG HSM Art Lens | 30.5 | (865) | 3.iii ten 4.two | (82.eight x 107.7) | 77 | 2018 |
| Sony FE 28mm f/two Lens | 7.one | (200) | 2.5 x 2.four | (64.0 x 59.9) | 49 | 2015 |
| Sony Fe 35mm f/1.4 ZA Lens | 22.two | (630) | 3.1 x four.4 | (78.5 10 112.0) | 72 | 2015 |
| Tamron 35mm f/i.eight Di VC USD Lens | 16.nine | (479) | iii.ii 10 three.2 | (80.4 ten 81.3) | 67 | 2015 |
| Zeiss 28mm f/ane.4 Otus Lens | 49.1 | (1390) | 4.three x 5.4 | (108.nine x 137.0) | 95 | 2015 |
Here is a comparison table of, at review time, all Sigma full frame prime Art lenses.
| Model | Weight | Dimensions w/o Hood "(mm) | Filter | Twelvemonth | ||
| Sigma 14mm f/i.eight DG HSM Art Lens | 41.3 | (1170) | 3.8 x 5.0 | (95.4 ten 126) | 2017 | |
| Sigma 20mm f/1.4 DG HSM Art Lens | 33.5 | (950) | 3.6 x 5.1 | (90.7 x 129.viii) | 2015 | |
| Sigma 24mm f/ane.4 DG HSM Art Lens | 23.5 | (665) | 3.3 x 3.6 | (85.0 x 90.two) | 77 | 2015 |
| Sigma 28mm f/1.iv DG HSM Art Lens | thirty.five | (865) | 3.iii x 4.2 | (82.8 ten 107.7) | 77 | 2018 |
| Sigma 35mm f/1.4 DG HSM Fine art Lens | 23.five | (665) | iii.0 x 3.7 | (77.0 x 94.0) | 67 | 2012 |
| Sigma 40mm f/1.iv DG HSM Fine art Lens | 42.4 | (1200) | three.5 x 5.two | (87.8 x 131.0) | 82 | 2018 |
| Sigma 50mm f/1.4 DG HSM Art Lens | 28.8 | (815) | 3.4 ten 3.nine | (85.iv x 99.9) | 77 | 2014 |
| Sigma 70mm f/2.8 DG Macro Art Lens | xviii.two | (515) | 2.viii x four.two | (70.eight x 105.8) | 49 | 2018 |
| Sigma 85mm f/1.4 DG HSM Fine art Lens | 39.9 | (1130) | 3.7 x 5.0 | (94.7 x 126.ii) | 86 | 2016 |
| Sigma 105mm f/1.4 DG HSM Fine art Lens | 57.9 | (1640) | iv.6 x v.two | (115.9 x 131.v) | 105 | 2018 |
| Sigma 135mm f/1.eight DG HSM Art Lens | 39.ix | (1130) | three.half-dozen x iv.v | (91.4 x 114.ix) | 82 | 2017 |
For many more comparisons, review the complete Sigma 28mm f/1.4 DG HSM Fine art Lens Specifications using the site'due south Lens Spec tool.
A comparing photo can profoundly help put the sizes into perspective.
Positioned above from left to correct are the following lenses:
Sigma 24mm f/1.4 DG HSM Art Lens
Sigma 28mm f/i.4 DG HSM Fine art Lens
Sigma 35mm f/i.four DG HSM Art Lens
Sigma 40mm f/i.4 DG HSM Art Lens
Sigma 50mm f/1.iv DG HSM Art Lens
The same lenses are shown beneath with their hoods in place.
Use the site's production image comparing tool to visually compare the Sigma 28mm f/ane.four DG HSM Art Lens to other lenses (link is preloaded with a comparison).
The 77mm filter size is somewhat big just very popular and common. In that location is a loftier likelihood that other lenses with 77mm filter threads are already in your kit and that sharing volition be easy. A standard thickness circular polarizer filter will increase peripheral shading very slightly, and so a slim filter model such as the B+W XS-Pro or Breakthrough X4 is recommended.
Like the rest of the Sigma Fine art lenses, the 28 Art lens arrives with a lens hood, the Sigma LH828-01, included in the box. This hood is large in size, affording a nice amount of protection to the lens from both bear on and flare-inducing light. Synthetic of strong molded plastic, this hood has a slight amount of flex (expert for arresting impact) and the interior is ribbed to avoid reflections. The push-button release allows for easy installation and removal.
Sigma Art lenses come in a nicely padded, double-zippered nylon case. A shoulder strap is provided, just a belt loop is not.
Sigma'southward lens caps are very nice.
Sigma Global Vision and the USB Dock
Sigma's Global Vision lenses get a classification of "A", "C" or "Due south", representing a primary Sigma-intended utilize of "Artistic", "Contemporary" and "Sports". A full clarification of these categories tin exist found in the Sigma 35mm f/ane.iv Art Lens press release.
Sigma has been introducing some very nice lenses in the Global Vision series, but I'g not a fan of the narrow categorization structure. This of form is an "Art" lens and as such, gets an "A" stamped in a swish chrome circle on the lens barrel. Don't limit the lens' use to its letter designation (unless y'all consider all photography to be "fine art").
A swell feature of the Global Vision lenses is compatibility with the Sigma Dock. The dock, working in conjunction with the Sigma Optimization Pro software, allows the lens' firmware to be updated (bug fixes, compatibility updates, feature enhancements, etc.) and allows precise autofocus calibration at iv distances. FTM focusing tin can likewise be disabled/controlled via the dock. Hither are some screen captures showing some of the functionality.
1 | ii | 3 | iv
The focus calibration values were set up for analogy purposes only.
Price and Value
Sigma Art lenses are seldom considered "cheap", but they nearly always have cracking-value-prices. While the price of this lens is reaching into the mid-tier of lenses overall, its optical performance comparing to or exceeding that of lenses costing far more makes information technology seem similar a bargain to me.
The Sigma 28mm f/1.4 DG HSM Art Lens is available in Canon, Nikon, Sony E and Sigma mounts. This lens qualifies for Sigma'southward Mount Conversion Service in instance you later alter your heed. My standard disclaimer: There are potential bug with tertiary party lenses. With the exception of the Sony E mountain, Sigma reverse engineers (vs. licenses) manufacturer electronics and algorithms and in that location is always the potential that a DSLR trunk might non support a (likely older) tertiary party lens. Usually, a lens can be fabricated uniform past the manufacturer via a firmware update, simply this cannot exist guaranteed. Compatibility with the Sigma USB Dock is risk-reducing as Sigma tin can make dock-uniform lens firmware updates available for easy download. In regards to the Sony mount version of this lens, Sigma states "This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation nether the license agreement with Sony Corporation." Sigma provides a 1-twelvemonth limited warranty and Sigma USA provides a limited 3-year warranty extension.
The reviewed Sigma 28mm f/1.4 DG HSM Art Lens in Canon mount was online-retail sourced.
Alternatives to the Sigma 28mm f/ane.4 DG HSM Art Lens
While in that location are many prime and zoom lenses roofing the 28mm focal length, only a small number of them have an f/i.4 aperture.
1 lens that matches both focal length and maximum aperture is the Zeiss 28mm f/one.4 Otus Lens, a manual-focus-but lens that sets the bar for wide angle paradigm quality and a lens that sends fear and trepidation into the competitors. In the Sigma Art vs. Zeiss Otus image quality comparison at f/1.4, you are going to see the Sigma practically equaling the Zeiss performance. At f/2, the difference is even harder to discern.
Looking at the specs and measurements, the Sigma 28mm f/1.4 Fine art Lens vs. Zeiss 28mm f/1.iv Otus Lens comparing shows the Sigma significantly lighter and smaller. The Sigma uses much smaller filters (77mm vs. 95mm) and has a modestly higher maximum magnification (0.19x vs. 0.16x). The Zeiss is built like a tank. That the Zeiss Otus costs 3.5x as much equally the Sigma Art lens makes the Sigma appear remarkable.
Nikon is the big camera manufacturer make to feature a primary-spec-matching lens as of review time, the Nikon 28mm f/1.4E ED AF-S Lens. While the Nikon awaits testing on an ultra-high-resolution camera, the electric current prototype quality comparison shows the Sigma easily discernable as the sharper lens. The Nikon has modestly less vignetting, more geometric baloney and harsher flare response.
Looking at the specs and measurements, the Sigma 28mm f/ane.4 Art Lens vs. Nikon 28mm f/1.4E Lens comparison shows the Nikon lens being considerably smaller and lighter. I look the Nikon lens to autofocus consistently more accurately than the Sigma on a DSLR. The Nikon is considerably more expensive.
If a modestly wider or longer focal length will work for your application, a plethora of lenses get bachelor for comparison and I'll pick two of this lens' siblings. I'll go wider beginning with the Sigma 24mm f/1.4 DG HSM Art Lens. In the image quality comparison at f/1.iv, I similar the 28mm results ameliorate. Past f/2, the 24mm lens' center-of-the-frame results are catching up to the 28mm'southward results, but the 28mm remains the slightly better option in the periphery. By f/4, the two lenses are essentially equivalents. The 24 has modestly less peripheral shading.
Looking at the specs and measurements, the Sigma 24mm vs. 28mm f/1.4 Art Lens comparing shows the 24 as the smaller, lighter lens. Otherwise, these lenses are more similar than different in this comparison. Non similar is the price – the 24 is significantly less expensive.
The next-wider Sigma full frame prime Art lens is the 35mm f/1.4 DG HSM Art Lens. In the image quality comparison, nosotros meet that Sigma has very significantly improved upon the original Art prime lens. The 35 has slightly less linear distortion.
Looking at the specs and measurements, the Sigma 28mm vs. 35mm f/1.4 Art Lens comparison shows the 35 the considerably smaller and lighter lens. The 35 uses smaller filters (67mm vs. 77mm). Every bit with the concluding Art lens comparing, the specs bear witness these lenses to be otherwise more than similar than unlike. The 35 is considerably less expensive.
Non so long agone, I would have said that 2-stops of discontinuity would accept to exist given up to go into a zoom lens roofing the 28mm focal length, just the recently-prior-introduced Canon RF 28-70mm f/2L USM Lens gives up only 1 cease and the Sigma 24-35mm f/ii DG HSM Fine art Lens as well covers 28mm with an f/2 aperture. Zoom lenses provide great versatility, but they are not completely advantaged over the primes. Apply the site'southward comparison tools to make your evaluations.
Summary
After writing about a dozen Sigma prime Fine art lens reviews, it becomes increasingly hard to write a creatively-different summary as these lenses share and so many similarities.
All of these lenses are beautifully-designed, solidly built, and a pleasure to use. They are not typically the smallest or lightest in their grade and cost-cutting is not a high priority for the Fine art series. Delivering a proficient value remains a priority and cutting-border image quality plain remains paramount.
The most notable differentiator among the Art series prime lenses is the focal length. When 24mm is also broad and 35mm besides long, the Sigma 28mm f/i.four Art Lens is the correct reply. With its superior epitome quality, the 28mm choice will often exist the best choice over the other two and over the competitor brands every bit well. This focal length avails general purpose use and the ultra-broad f/1.4 aperture, unsurpassed past any 28mm DSLR or MILC lens currently produced, extends that use to seemingly any light conditions while providing the strongest 28mm groundwork blur possible.
This lens' biggest downside, as I experienced, is DSLR AF accuracy inconsistency (sensor-based AF systems should completely side-step this problem). A firmware update from Sigma could dramatically reduce this issue making this lens a nearly-perfect 28mm choice.
If 28mm works for your awarding, the Sigma 28mm f/1.iv DG HSM Fine art Lens deserves a position at the top of your shortlist.
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