Camera and lens makers have been busy lately with consistent releases this week. Tamron announced the development of one lens and preorders of another, Sony announced two cameras and a lens, and now Sigma is getting in on the action. The third-party lens maker has just announced two new lenses for Fujifilm X-mount. Both of these lenses have already been available for Sony E-mount, so it is nice to see the lens mount options expanding. The 100-400mm F5-6.3 DG DN OS marks the second zoom lens for X-mount, while the 23mm F1.4 DC DN | Contemporary is the fourth prime lens, rounding out the total number of Sigma options for Fujifilm users to six.

Sigma 23mm F1.4 DC DN | Contemporary details

Thus far, Sigma’s prime lens offerings for Fujifilm cameras included the 16mm F1.4 DC DN | Contemporary, 30mm F1.4 DC DN | Contemporary, and 56mm F1.4 DC DN | Contemporary lenses. The company already made a 23mm f/1.4 for Sony E-mount cameras, and now it is coming to Fujifilm X-mount. It offers a 35mm equivalent angle of view and rounds out Sigma’s set of fast f/1.4 lenses for Fujifilm users.

Sigma designed the lens with 13 elements in 10 groups. That includes three SLD (special low dispersion) glass elements and two aspherical lens elements for sharper, clearer results. It’s designed to minimize flare and ghosting as well. Sigma claims that it will result in high-resolution images even when using the maximum aperture. And that wide aperture, in combination with the rounded nine-blade diaphragm, should result in attractive bokeh as well.

In terms of autofocus, the lens features a high-speed stepping motor. This will provide fast and quiet autofocus that is able to keep up with tracking features in Fujifilm cameras, such as one of our favorites, the X-T5. It can focus as close as 9.8 inches, enabling dramatic closeup shots.

Build quality

Fujifilm cameras with APS-C sensors are fairly compact, and luckily, Sigma built these lenses to fit well on those smaller bodies. The 23mm f/1.4 weighs only 11.8 ounces, and it is just 3.11 inches long, which is tiny. It would be a great travel, hiking, or street photography lens as a result. It uses a filter diameter of 52mm. It features a mount with dust and splash-resistant structure, though isn’t fully weather-sealed. The focus is internal, though, which helps protect the lens somewhat.

Pricing & availability of the Sigma 23mm f/1.4 DC DN | Contemporary

The Sigma 23mm F1.4 DC DN | Contemporary will be available on September 21 for a suggested retail price of $549.

Sigma 100-400mm F5-6.3 DG DN OS | Contemporary details

Sigma released the original 100-400mm F5-6.3 DG DN OS | Contemporary in 2020 for full-frame mirrorless cameras. It’s a versatile lens that is also extremely affordable for the focal length range. It offers a full-frame equivalent angle of view of 150-600mm, making it ideal for wildlife, sports, or event photography.

Build & design

Despite the reach that this telephoto zoom provides, it is quite compact. It weighs 2.5 pounds and is 7.8 inches long. It utilizes an 86mm filter. Sigma built the lens with 16 elements in 22 groups, with one FLD and four SLDs, to correct aberrations and distortion. Sigma promises superb image quality from edge to edge at every focal length.

Unfortunately, Sigma didn’t include a tripod socket on the lens. But, it does make one that you can purchase separately, and it made the area that the socket would attach out of magnesium alloy for strength and durability. The lens mount features a dust and splash-resistant structure, and it utilizes an inner focus system just like the 23mm.

Focusing & handling

Like the 23mm, the 100-400mm features a stepping motor for fast and quiet autofocus. This lens also has the advantage of five stops of image stabilization, making it easier to obtain sharp images. There are two modes for stabilization. Mode 1 is for general photography, while Mode 2 is intended for motorsports and other panning situations. Beyond stabilization settings, the 100-400mm offers a handful of other lens controls. That includes an AF/lock/AF activation switch, focus limiter switch, and zoom lock switch.

Pricing & availability of the Sigma 100-400mm F5-6.3 DG DN OS | Contemporary

The Sigma 100-400mm F5-6.3 DG DN OS will also be available on September 21 for $949.

The post Sigma releases a wide-angle prime and telephoto zoom for Fujifilm X-mount cameras appeared first on Popular Photography.

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Astrophotography is one of the more technical genres of photography and doing it well requires specific skills and equipment. Sigma aimed to meet those needs with its recently released Sigma 14mm f/1.4 DG DN Art lens for Sony E and Leica L cameras. This lens is impressive for multiple reasons, but its biggest claim to fame is the widest-ever maximum aperture at this focal length on a full-frame lens. Also, since Sigma designed this lens for astrophotographers, it provides several features ideal for capturing the night sky. That includes a dedicated place for a lens heater, a lens cap with filter slots, and a manual focus lock switch. Sigma sent me a copy of this lens to test out on my Sony a7 III camera, and I had fun stretching my astrophotography skills a bit. 

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Overview

• The ultra-wide and ultra-fast design is ideal for astrophotographers. 
• It is very feature-rich and boasts a lens heater slot, a focus ring lock, and plenty of other lens controls.
• The 14mm focal length provides a 114-degree angle of view on full-frame cameras.
• Its close-focusing ability adds some versatility. 
• The $1,599 price tag isn’t overly steep, but it isn’t a cheap lens, either.

Pros

• Excellent overall image quality with edge-to-edge sharpness
• Fast f/1.4 aperture
• Weather sealed
• Silent autofocus
• Can focus as close as 11.9 inches

Cons

• Heavy and bulky
• Protruding front element precludes it from using typical filters

Verdict

The slew of lens controls make this ultra-wide angle lens easy to use without fussing with camera settings. It provides fast and accurate autofocus when you need it and results in excellent image quality with edge-to-edge sharpness, even when shooting wide open. The beefy weight of the lens is definitely a downside, but the tripod collar helps.

Sigma 14mm f/1.4 DG DN Art design & build quality

When I took this lens out of its box, and my non-photographer husband saw it, he exclaimed, “Wow, that’s a serious lens.” Such comments are typically reserved for big telephoto lenses, which should tell you something about this Sigma 14mm. It is a big, burly bit of gear weighing 2.6 pounds and measuring 5.9 inches long. 

While you certainly can hand hold it (though we hope you’ve been lifting your weights lately if you go that route for long periods), SIgma included a rotating and removable tripod collar. The tripod foot is Arca compatible, which many will love to see for simple compatibility. As with any heavy lens, you’ll want to mount the tripod to the lens instead of the camera, as otherwise, it won’t balance well, and it will put undue strain on the lens mount.

One of the most unique features of this lens is the groove at the front of the barrel that Sigma designed specifically to hold a lens heater. If you aren’t familiar with astrophotography, lenses can be prone to fogging when working in cold, damp conditions because moisture from the air condenses on the cold metal and glass. A lens heater is the way to prevent that. Having a dedicated place to put such a device so that it’s held in place and out of the way of other things is very handy. I didn’t need to use this at all, but it is smart to include on such a lens.

As with all of Sigma’s Art lenses, it is built with a dust and splashproof construction to stand up to the elements. It features an integrated lens hood, which mostly just aims to protect the protruding front element. Due to the bulging lens, the filters go at the back via a rear filter holder. 

Lens cap

It seems odd to have a section just for a lens cap, but the one Sigma created for this lens is quite different from most. For starters, it provides filter storage on the inside of the lens cap. These slots only open a slight amount, though, and I didn’t use them at all, so I’m not sure how useful they will actually be.

Sigma did away with the typical sliding design that sits on the built-in lens hood. These lens caps have the tendency to fall off, leaving the lens unprotected. Instead, this lens cap features a front pinch design and locking mechanism to keep it firmly in place no matter what. I never had it fall off, even when pulling it out of a snug camera bag. That’s impressive.

Lens controls

There is no shortage of controls on the body of the Sigma 14mm f/1.4, which makes it easier to use. There is a dedicated aperture ring that can be clicked or de-clicked for video use. Or you can set it to Auto and change the aperture on your camera if that is your preferred style. The manual focus ring is smooth and easy to rotate with just enough resistance. There’s no big risk of accidentally bumping it and having it drastically change focus like some lenses, which is very nice. And when you are manually focusing, there’s less risk of significantly overshooting where you are trying to focus, making the manual focus process easier and faster.

Sigma doesn’t provide any information on focus throw (the amount of rotation needed to turn the focus ring from its minimum focus distance to infinity), but it seemed very reasonable. I didn’t have to turn the focus ring an excessive amount in order to change focus. Granted, because there is such a big focus distance range on this lens, it does need a lot of rotation if you are making a big change to your focus. But for small changes, it’s easy and quick to adjust. 

One excellent feature for astrophotographers is the manual focus lock switch. This switch allows you to lock your manual focus ring so that you don’t accidentally bump it after dialing in focus for a long exposure. Or, you can set your focus and travel to your shooting location without having to redo anything. I found this lock extremely useful, and it definitely saved me from screwing up a few shots. 

You’ll also have access to an autofocus/manual focus switch and a focus hold button, which can be programmed to be used for various functions in the camera menus. 

Sigma 14mm f/1.4 DG DN Art image quality

Since this is an Art lens—which is Sigma’s top tier—we expected excellent image quality. That expectation was even higher because of the relatively high price and the fact that Sigma didn’t try to compromise anything in order to make a compact and lightweight lens. And luckily, that’s just what the lens provides.  

The Sigma 14mm f/1.4 lens provides extremely sharp images all the way to the edges, even when using a wide-open aperture. That’s seriously impressive for a lens of this focal length. Ultra-wides typically get noticeably softer around the edges, especially in the corners. I also didn’t see any chromatic aberration or fringing whatsoever. Photos from this lens were remarkably clean and clear.  

As this is an astrophotography lens, there are some specific image quality features to consider when photographing stars. Sigma built the lens with 19 elements in 15 groups, which include one SLD (Special Low Distortion), three FLD (Low Dispersion), and three aspherical elements. The aim is to eliminate sagittal coma flare, which distorts star shape. The optical design appears to have worked. Star points are clearly defined and shaped as we would expect, even on the edges of the frame. 

Distortion & vignetting

The Sigma 14mm f/1.4 does show fairly heavy distortion and vignetting, but we expect that in an ultra-wide. When you stop down the aperture a bit the vignetting is very minimal. Sigma sent me a pre-release version of the lens, and this meant I was using a beta version of the correction profile. But even with that beta version, correction was straightforward. I occasionally like some subtle vignetting, so there were some images that I felt the automatic vignette correction went too far. But that was a matter of personal preference for particular images.

Close focusing & bokeh

Wide-angle lenses aren’t typically known for their shallow depth of field. But thanks to the f/1.4 aperture and the ability to focus as close as 11.9 inches, the Sigma 14mm is actually capable of very shallow depth of field and very attractive bokeh. It’s not the most flattering focal length for portraits, but you could create some uniquely dramatic portraiture if you embrace the inherent distortion. And while it won’t replace a macro lens, it can take some nice detail shots. 

The bokeh from this 14mm is really pleasing. It is nice and round with no aberrations or fringing on the edges. And the transition from in-focus to out-of-focus areas is quite smooth, with no jarring or distracting areas. 

Autofocus

Sigma utilized its relatively new HLA (High-response Linear Actuator) autofocus motor in its 14mm f/1.4. The result is a nearly silent autofocus. There is some audible noise when in a completely silent room. But it’s very subtle and wouldn’t prevent anyone from using this lens for video applications. The autofocus is also very fast, with it finding focus almost instantaneously when it locks on to something.

Who should buy the Sigma 14mm f/1.4 DG DN Art lens?

As should be clear by now, Sigma very much intends this lens for serious astrophotographers. And while calling a 14mm prime versatile is a bit of a stretch, its robust feature set also makes it ideal for a range of other applications. Landscape photographers rely on many of the same features as astrophotographers, so anyone who wants to capture dramatic, sweeping landscapes would benefit from this one. Likewise, architectural and real estate photographers will enjoy the broad angle of view and superb image quality. And while this certainly isn’t a macro lens, it can focus quite close and results in very shallow depth of field for an ultra-wide. That opens it up for opportunities to take unique wide-angle detail shots. 

The closest alternative for Sony users is Sony’s own 14mm f/1.8 GM lens. It’s right around the same price as Sigma’s lens and also provides superb image quality. But it doesn’t offer quite as wide of an aperture or any of the astrophotography-specific features. It does, however, only weigh one pound and is roughly half the length, making it much more compact than Sigma’s lens. Which you should buy really comes down to your priorities and what you will primarily be shooting. 

Final thoughts on the Sigma 14mm f/1.4 DG DN Art lens?

This lens fits a bit of a niche corner of the photography market, so it isn’t one that I can widely recommend. That said, Sigma did not skimp on features or quality with this 14mm. It produces remarkably sharp and clear images and offers fast and accurate autofocus. All of the quality and features come at a price, though. At $1,599, it isn’t a cheap lens. And the 2.6-pound weight is a downside for many. But if you can get past those two things and are in need of a high-quality ultra-wide-angle prime, this lens definitely fits the bill.

More images from the Sigma 14mm f/1.4 DG DN Art

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Sigma is perhaps one of the most well-known and well-respected third-party lens manufacturers. Its Art line of lenses, in particular, offers quality that rivals OEM lenses, and yet they come at more affordable prices. And now, the company has announced a new Art-series offering in the form of the first 14mm prime lens with an f/1.4 aperture. This new ultra-fast ultra-wide has lots of features specific to astrophotography, such as a lens heater retainer, manual focus lock, tripod socket, and more. We anticipate this lens makes our list of the best Sigma lenses and look forward to testing it out soon.

Sigma 14mm f/1.4 DG DN Art lens at a glance

• Built for astrophotography
• Lens cap with locking mechanism and filter storage
• Removable tripod collar
• f/1.4 to f/16
• 11-blade diaphragm
• 114° angle of view
• 11.8-inch minimum focus distance
• 19 elements in 15 groups
• 4 x 5.9 inches
• 2.6 pounds

Sigma 14mm f/1.4 DG DN Art lens details

Sigma designed this new ultra-wide-angle prime lens very specifically for astrophotography. As a result, it gets some unique features. That includes a lens heater retainer on the front of the lens to help keep condensation away. It also offers a manual focus lock switch so that the focus won’t change even if you bump the focus ring. There’s a rear filter holder on the lens and a unique lens cap design that offers filter storage slots on top of a new locking mechanism. And a removable tripod socket ensures you get stable shots even with lengthy exposures.

While the lens is built for full-frame cameras, it will also work on APS-C cameras, providing a 21mm equivalent focal length. It features one Special Low Distortion element, three Low Dispersion elements, and three aspherical elements to improve sharpness. These elements also eliminate sagittal coma flare, resulting in a more natural star shape. The optical design and multicoating also work to reduce ghosting and flare.

Sigma’s 14mm lens utilizes a High-Response Linear Actuator autofocus motor for fast, quiet, and extremely accurate focusing. It also features an aperture ring which can be clicked or de-clicked for video applications. Additionally, there is a manual focus switch and a programmable AFL button. Finally, as we’d expect from an Art lens, Sigma coated the front element with a water and stain-repellent coating to keep the glass clean and clear, and it features dust and splash-resistant construction for better protection in the elements.

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Pricing & availability

Priced at $1,599, new Sigma 14mm f/1.4 DG DN Art lens is not a cheap lens. It’s roughly the same price as Sony’s 14mm f/1.8. GM ultra-wide-angle lens, though, it does offer a faster aperture. It is available for pre-order now and will begin shipping in late June.

The post Sigma announces the 14mm f/1.4 DG DN Art lens for astrophotography appeared first on Popular Photography.

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Best for Canon		Canon RF 100mm f/2.8 L Macro IS USM		SEE IT
Best for Nikon		Nikon NIKKOR Z MC 105mm f/2.8 VR S		SEE IT
Best for Sony		Sony FE 90mm f/2.8 Macro G OSS		SEE IT

Macro lenses provide a unique ability to magnify tiny details to their true-to-life size, or at times even larger than life. They can reveal details our eyes may not be able to pick up on, allowing us to see new and interesting subjects. Macro images often depict mesmerizing textures and colors or dramatic views of tiny creatures. It can be a challenging genre, but with the best macro lenses, you’ll be able to document unique perspectives.   

• Best for Canon: Canon RF 100mm f/2.8 L Macro IS USM
• Best for Nikon: Nikon NIKKOR Z MC 105mm f/2.8 VR S
• Best for Sony: Sony FE 90mm f/2.8 Macro G OSS
• Best Sigma: Sigma 105mm F2.8 DG DN Macro Art
• Best budget: Venus Laowa 100mm F/2.8 2X Ultra Macro APO

Best macro lenses: Ratings & reviews

Best for Canon: Canon RF 100mm f/2.8 L Macro IS USM

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Why it made the cut: This Canon macro offers a larger-than-life 1.4:1 magnification ratio, quiet autofocus, and five stops of in-lens stabilization for sharper images. 

Key features:

• Mount: Canon RF
• Maximum aperture: f/2.8
• Minimum focusing distance: 10.2 inches
• Magnification ratio: Up to 1.4:1
• Dimensions: 3.2 x 5.8 inches
• Weight: 1.6 pounds

Pros

• Allows you to adjust the shape and look of bokeh
• 1.4x magnification
• Five stops of in-lens stabilization
• Fast and quiet autofocus

Cons

• A bit pricey

Canon’s original 100mm f/2.8 macro lens was an impressive choice for its DSLR cameras, so it’s no surprise to find the mirrorless version a worthy follow-up. It has a fast f/2.8 max aperture and includes five stops of stabilization. And when paired with a camera with in-body stabilization (IBIS), you’ll get up to eight stops of shake reduction. That’s huge if you need to handhold your camera for macro shots, which typically require small apertures to maximize depth of field.

One of the most unique aspects of this lens is the Spherical Aberration Control Ring. It allows you to change how hard the edges of the bokeh are so that you can change from hard, obvious circles to softer, blurrier bokeh. It gives you much more creative control than you’ll get with other lenses.

This 100mm lens offers up to 1.4x magnification if you shoot at the closest end of the focusing range, resulting in dramatic macro images. It has fast and quiet autofocus and also includes a focus range limiter switch to keep the lens from searching for focus where you know you won’t need it. And it’s sealed against dust and moisture, so if you get caught in some rain, you won’t need to worry about the lens getting damaged.

If you would like to see more Canon macro lens options, check out our top picks.

Best for Nikon: Nikon NIKKOR Z MC 105mm f/2.8 VR S

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Why it made the cut: Nikon’s 105mm macro lens is a versatile lens, good for macro images and portraits, making it ideal for wedding photographers. 

Key features:

• Mount: Nikon Z
• Maximum aperture: f/2.8
• Minimum focusing distance: 11.4 inches
• Magnification ratio: 1:1
• Dimensions: 3.3 x 5.5 inches
• Weight: 1.4 pounds

Pros

• 4.5 stops of stabilzation
• Also great for portraits
• Has an OLED lens information panel
• Compatible with Nikon’s focus stacking mode

Cons

• Aperture varies with focusing distance

As part of Nikon’s S line of lenses, you can expect top-quality optics in this Nikkor macro lens, resulting in excellent image quality and beautiful bokeh. It has fast and accurate autofocus, and with limited focus breathing would also be a great tool for macro videos. Robust weathersealing protects it from the elements. The unique OLED display on the top of the lens allows you to quickly see aperture setting, focus distance, and depth of field figures even in dark conditions. 

The 105mm focal length offers a versatile angle of view, making it suitable for more than just macro images. Wedding photographers will be able to go right from taking macro shots of the rings to stunning portraits without switching lenses. The 4.5 stops of vibration reduction help with getting sharp images in those low-light conditions. And if you have a camera with IBIS, you’ll get even better performance. 

There is one downside to this lens, however. When you focus at 11.4 inches–the closest focusing distance–you are limited to an aperture of f/4.5. Also, although it is reasonably priced for such a focal length, it is pricier than the 50mm Z mount macro lens. If you still want macro capabilities on your mirrorless Nikon but want to save some money, you may want to check out its 50mm macro.

If you have a Nikon APS-C DSLR, the Nikon AF-S DX Micro-NIKKOR 40mm is also a great choice at a highly affordable price.

Best for Sony: Sony FE 90mm f/2.8 Macro G OSS

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Why it made the cut: This Sony macro lens offers a versatile 90mm focal length, truly stunning image quality, and impressive autofocus capabilities.

Key features:

• Mount: Sony E
• Maximum aperture: f/2.8
• Minimum focusing distance: 11 inches
• Magnification ratio: 1:1
• Dimensions: 3.11 x 5.14 inches
• Weight: 1.32 pounds

Pros

• Exceptional image quality
• Fast, silent, and internal autofocus
• Easy switching between manual and autofocus
• Built-in stabilization

Cons

• Stabilization could be better

Sony’s macro offering is an outstanding lens with stunning image quality and beautiful bokeh. It utilizes Sony’s Optical SteadyShot image stabilization to reduce camera shake. Plus, you’ll get additional stabilization if you use a camera with IBIS.

As we’ve come to expect from Sony, it has impressive autofocus capabilities, thanks to the Direct Drive SSM system. But, if you prefer to adjust focus manually, the lens has an old-school push-pull focus ring, so you can quickly go back and forth. There is also a focus hold button and a focus limiter switch, both of which are very useful for macro photography. And, all focusing is internal, so the lens won’t change lengths when focusing.

Though some may prefer a longer telephoto for macro photography, the 90mm focal length is a versatile option. It will be fantastic for portraits as well as detail shots. And it is dust and moisture-resistant, giving you the confidence to use it even in less than ideal conditions.

Best Sigma: Sigma 105mm F2.8 DG DN Macro Art

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Why it made the cut: Sony E mount and Leica L mount users can take advantage of this highly affordable lens. And despite the budget price, it offers truly exceptional image quality and excellent autofocus.

Key features:

• Mount: Sony E, Leica L
• Maximum aperture: f/2.8
• Minimum focusing distance: 11.6 inches
• Magnification ratio: 1:1
• Dimensions: 2.9 x 5.3 inches
• Weight: 1.6 pounds

Pros

• Very affordable
• Excellent image quality
• Fast and silent autofocus

Cons

• No stabilization

Sigma is well known for its well-priced but high-quality lenses, and its macro option is no exception. Falling in the top-tier Art line, this 105mm f/2.8 macro lens offers 1:1 magnification and can focus as close as 11.6 inches. And it is weather-sealed against the elements, which you typically only find in more expensive lenses.

A Hyper-Sonic Motor drives the autofocus, resulting in a quick and quiet autofocus system. There is also full-time manual focus control for when you need to make small adjustments quickly. To help prevent your camera from searching unnecessarily for where to focus, there is a focus limiter switch. That is especially useful on a 105mm focal length since your subjects will likely span a greater distance. 

The aperture control ring can be de-clicked for video use. However, this lens does have some noticeable focus breathing that is less than ideal for video. There also isn’t any in-lens stabilization. If you don’t have a camera with IBIS, it may not be the best pick for you. But, the resolution and sharpness you’ll get from this lens are some of the best you’ll get in a macro lens, even across native lens options. That’s especially impressive, considering the price point. 

Best budget: Venus Laowa 100mm F/2.8 2X Ultra Macro APO

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Why it made the cut: It’s not only one of the cheapest full-frame macro lenses, but it offers 2x magnification and beautiful bokeh for impressive macro images.

Key features:

• Mount: Canon EF, Canon EOS RF, Leica L, Nikon F, Nikon Z, Pentax K, and Sony E mount
• Maximum aperture: f/2.8
• Minimum focusing distance: 9.72 inches
• Magnification ratio: 2:1
• Dimensions: 2.83 x 6.1 inches
• Weight: 1.4 pounds

Pros

• Very affordable
• Durable metal body
• 2x magnification
• Excellent image quality

Cons

• Manual focus only

Macro photography doesn’t have to be an expensive endeavor, as shown by this Venus Laowa lens. It offers a 2:1 magnification ratio, more than any other on our list, allowing you to create some really dramatic macro photos. It’s available for seven different mounts, so chances are it will work with your camera (provided you buy the correct one).  

Despite the budget price, this lens offers beautiful image quality, on par with more expensive options. It is sharp edge to edge at all apertures and has beautiful bokeh. Many lenses start to lose sharpness at f/8 or so, but that is not the case here. That’s helpful when shooting macro since you will need to stop down to get more than a sliver in focus. 

The downside to this lens is that there is no electronic communication between the lens and the camera. This results in manual focus aperture controls on the lens only. The manual focus shouldn’t be much of an issue if you stick to macro photography since you’ll likely want to adjust manually for that anyway. But, if you want this to double as a portrait lens, that could get frustrating. Likewise, some may not mind needing to change the aperture on the lens, but it could be a deal breaker for some.

If you’d like a smaller macro lens, Venus Optics also makes the smallest 2x macro lens currently available. 

Things to consider before buying macro lenses

What are macro lenses used for?

Macro lenses are used for documenting small details, allowing you to focus up close and personal. Whether it be the texture of a feather, the intricate details of a flower, or the sparkle of diamonds on a wedding ring, macro photos help show off things we may not notice with our eyes alone.

Magnification ratio

It’s important to note that macro photography is more than just an image taken up close. A true macro photo requires a magnification ratio (also called reproduction ratio) of 1:1 or greater. That means that the resulting image will show the object or texture as the same size or larger as in real life. So, if you’re taking a photo of a bug that is just an eighth of an inch long, the image projected onto your camera’s sensor will also result in that creature being an eighth of an inch long. You may also see this reflected as 1x, as it is one times the subject’s size in real life. 

It’s worth noting that some lenses will mention macro but will not offer that 1:1 magnification. And while you can use many lenses to take detailed images, if you want specific macro photographs, you’ll need a lens with at least a 1:1 magnification ratio. Be sure to look specifically for the magnification of a lens before purchasing if you want to use it for macro images.

Versatility

Most macro lenses offer the classic 1:1 magnification, but there are also lenses with 2:1 (2x) or even 5:1 (5x) ratios. Deciding between these is somewhat a matter of personal preference and how much detail you want to show. But it also impacts if you will be able to use the lens for anything other than macro photography. 

You can typically use lenses with lower magnification ratios for things other than macro photography, such as portraits. But higher magnification ratio lenses cannot focus on anything very far from the lens and thus can only be used for macro. So if you know you want to focus on macro photography, a higher magnification might be best. If you don’t want to spend money on a lens that you can only use for one type of photography, go with a 1:1 ratio for more versatility. 

Autofocus

Not all macro lenses will be able to automatically focus on your subject. Budget macro lenses, especially, will typically not have this ability. While this may seem like a problem, manual focus is generally the best way to focus when shooting macro images. That’s because the area that is in focus for this genre of photos is such a narrow amount that autofocus may not be able to zero in on exactly where you want to focus. With manual focus, you can precisely control where the sharpest point of the image will be.

If you want the convenience of using autofocus, make sure to specifically look for a lens that has those capabilities with your camera. It will likely cost you a bit more, so if you’d rather save some money, you’ll be better off with a manual focus macro lens.

Focal length

Macro lenses come in a variety of focal lengths, from wide-angle to telephoto, though telephotos are the most common. Macro lenses are always prime–or fixed focal length–lenses, so you will not find zoom macro lenses. Different focal lengths have advantages and disadvantages, so it can be challenging to choose which focal length is best for you.

Wide angle lenses will offer a wide, sweeping view, which can be dramatic and unique for macro images. They are typically compact and easy to handhold. However, they require you to get very close to the subject, which only works with inanimate objects or subjects that don’t move much.

Telephoto lenses provide a more narrow view. But they allow you to stand further back, especially as you get into long telephoto focal lengths. This is ideal for subjects such as bugs or anything that may be scared off by your close presence. Longer telephotos will be more expensive and also bulkier than shorter focal lengths. They can also make it tricky to get sharp images if you aren’t shooting in bright conditions and aren’t able to use a tripod. So, if you want to save some money and have a lighter, more compact lens, you’ll be better off sticking with a shorter focal length.

Minimum focus distance

The minimum focus distance of a lens refers to how close you can get to a subject and still be able to focus. If you get closer than that minimum focus distance, you will not be able to focus on your subject. As mentioned above, wide-angle lenses allow you to get very close to subjects, sometimes as close as just four inches. Telephoto lenses will allow you to stay a bit further back, typically around 10 inches or more. 

While minimum focus distance is largely determined by focal length, it also varies within the same focal length across different lenses. If you know the subjects that you like to photograph are flighty, you can get away with a lens with a longer minimum focus distance. These also allow you to have room to add lighting equipment should you need to and help to keep your shadow off the subject. But, if you prefer to get up close and personal with your subject, look for a short minimum focus distance.

FAQs

Final thoughts on the best macro lenses

Macro lenses will allow you to create some dramatic, wow-worthy images. And although macro lenses are specialized pieces of gear, many can be versatile as well, allowing for portraits or unique landscapes. If you know you will only occasionally shoot macro images, go with a lens that will function for more than just macro shots. 

Methodology: How we picked the best macro lenses

The writers and editors at Pop Photo have decades of photography experience across genres and subjects. We have used gear from all major manufacturers, getting hands-on experience with a vast array of cameras, lenses, and other photographic equipment. 

When selecting the best macro lenses, we focused on lenses that provide a 1:1 or greater magnification ratio for a true macro experience. We also chose telephoto lenses for this roundup, as they are the most common macro lenses and offer an ideal working distance. Sharpness, bokeh quality, image stabilization, and weathersealing were the other key factors in our decision. 

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Sigma created its I Series lenses to offer high-quality compact primes for full-frame Sony E and Leica L shooters. Now, that lineup includes a pair of new lenses, including a super-wide 17mm f/4 DG DN and a standard 50mm f/4 DG DN.

Both lenses represent the main tenets of Sigma’s I Series lenses. They offer full autofocus features, all-metal lens barrels, and they’re considerably smaller and lighter than many of their other full-frame competitors. Here are some specifics about each of the new lenses.

Sigma I Series 50mm f/2 DG DN Contemporary

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At roughly 12 ounces and about 2.8 inches long, this 50mm lens is about the same length as the Sony 50mm f/1.8 and roughly twice as heavy. That extra weight comes from its all-metal barrel, which makes it considerably more durable than its plastic counterpart. The new I Series lens also has a lot of glass in it for a small body. It offers 11 total elements spread across 9 groups. That includes three aspherical elements and one super-low dispersion element to fix common distortions and aberrations.

The I Series 50mm offers apertures between f/2 and f/22, and a stepping motor drives the autofocus performance. While it’s not an f/1.4, this is absolutely designed for high-end and pro use. If you don’t find yourself shooting at f/1.4 all that often, you may really appreciate the stylistic and size advantages the new I Series lens offers over something like the also excellent 50mm f/1.4 Art lens.

Sigma I Series 17mm f/4 DG DN Contemporary

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While the 50mm f/2 will likely appeal to just about any photographer, this super-wide lens fills a more specialty role. It provides nine elements spread across eight groups. That count includes three aspherical and a pair of super-low distortion elements. Like the 50mm (and all the rest of the I Series lenses), it packs its glass into an all-metal barrel. But, despite its burly construction, this lens weighs just under eight ounces. The Sony 14mm f/1.8 (which is obviously much faster) weighs more than twice as much. If you’re shooting a lot of landscapes or other subjects that typically require lots of depth of field, you may not even miss those extra stops.

Wide-angle lenses typically focus very closely and this lens follows suit. It can focus down to 4.7 inches and provide a 1:3.6 magnification ratio. That should come in handy for content creators who want to vlog while holding the camera on themselves or show off products while they’re shooting.

Similar to cinema lenses

You’ll notice that both lenses offer pronounced knurling on their focus ring, a design cue taken from Sigma’s dedicated video lenses. Each lens has its own tactile aperture ring as well as a knurled lens hood to complete the aesthetic.

Both lenses start shipping at the end of April. The 50mm f/2 DG DN Contemporary will cost $639. The 17mm f/4 DG DN Contemporary will cost $599. Both lenses are currently available for pre-order for both the Sony E (full-frame) and Leica L mounts. And both of these would likely work very nicely with Sony’s recently-announced ZV-E1 full-frame camera for creators.

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Best 50mm		Sigma 50mm f/1.4 DG DN Art		SEE IT	This 50mm is incredibly sharp with great contrast.
Best 85mm		Sigma 85mm f/1.4 DG DN Art		SEE IT	Sigma’s 85mm f/1.4 Art lens is a dream for portrait photographers.
Best telephoto zoom		Sigma 60-600mm f/4.5-6.3 DG DN OS Sports		SEE IT	This telephoto lens offers 10x zoom and six stops of vibration reduction.

Sigma lenses have been offering photographers and content creators alternatives to first-party lenses for decades. In that time, the company has built a reputation for high-quality, affordable glass that fills in gaps the big manufacturers often miss. Its Contemporary, Sports, and Art lines all offer something a little different, so no matter what your priorities are when shopping for a lens, you’ll find an excellent selection. And these lenses are reasonably priced despite providing a lot of quality, making them ideal choices for the budget-conscious photographer. The best Sigma lenses will help you get exceptional images, no matter what your preferred subject matter. 

Mirrorless lenses:

• Best 50mm: Sigma 50mm f/1.4 DG DN Art
• Best 35mm: Sigma 35mm f/1.4 DG DN Art
• Best 85mm: Sigma 85mm f/1.4 DG DN Art
• Best telephoto prime: Sigma 135mm f/1.8 DG HSM Art
• Best telephoto zoom: Sigma 60-600mm f/4.5-6.3 DG DN OS Sports
• Best super telephoto zoom: Sigma 150-600mm f/5-6.3 DG DN OS Sports
• Best wide-angle zoom: Sigma 14-24mm f/2.8 DG DN Art
• Best standard zoom: Sigma 24-70mm F2.8 DG DN Art

DSLR lenses:

• Best 50mm: Sigma 50mm f/1.4 DG HSM Art
• Best 35mm: Sigma 35mm f/1.4 DG HSM Art
• Best 85mm: Sigma 85mm f/1.4 DG HSM Art
• Best telephoto prime: Sigma 135mm f/1.8 DG HSM Art
• Best telephoto zoom: Sigma 70-200mm f/2.8 DG OS HSM Sports
• Best super telephoto zoom: Sigma 150-600mm f/5-6.3 DG OS HSM Sports
• Best wide-angle zoom: Sigma 24-35mm f/2 DG HSM Art
• Best ultra-wide-angle zoom: Sigma 14-24mm f/2.8 DG HSM Art
• Best standard zoom: Sigma 24-70mm f/2.8 DG OS HSM Art

How we picked the best Sigma lenses

We considered a range of characteristics when selecting the Sigma lenses included in this guide. Image quality was one of the foremost factors, which includes aspects such as sharpness, distortion, aberrations, and more. We assessed features such as image stabilization, lens controls, and weatherproofing. We also looked at important specs such as aperture range, dimensions, and weight. And lastly, given that Sigma makes lenses for many different lens mounts and at different price points, we aimed to choose lenses for various camera systems and budgets.

The best mirrorless Sigma lenses: Reviews & recommendations

Sigma currently makes mirrorless lenses primarily for Sony E-mount and Leica L-mount, both in full-frame and APS-C formats. It has also begun making lenses for Nikon, though thus far, that only includes three prime APS-C lenses. The lenses below are all designed for full-frame cameras but will work on APS-C bodies, albeit with a cropped view. 

Best 50mm: Sigma 50mm f/1.4 DG DN Art

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Lens mounts: Sony E, Leica L

A quality 50mm is something we recommend every photographer have in their kit, and this Sigma 50mm fits the bill. It offers a fast f/1.4 aperture and is sharp even when shooting wide open. It results in excellent colors and contrast as well. The lens body features plenty of controls, including an aperture ring and a customizable AFL button. And it’s dust- and splash-resistant with a protective coating on the front element to keep the lens safe and clean.

Best 35mm: Sigma AF 35mm f/1.4 DG DN Art

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Lens mounts: Sony E, Leica L

Sigma’s newest 35mm offering offers a fantastic balance of bright aperture, excellent image quality, size, and price. That’s especially true when compared to the Sigma 35mm f/1.2 lens, which is very bulky. The f/1.4 version still offers a lot of resolution and quality, but is nearly a pound lighter and $500 cheaper. And as an Art lens, it provides beautiful bokeh and a rugged build.

Best 85mm: Sigma 85mm f/1.4 DG DN Art

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Lens mounts: Sony E, Leica L

Sigma’s 85mm f/1.4 is a portrait photographer’s dream lens, especially if you don’t want to drop the cash on the Sony 85mm f/1.4 GM. It offers a fast and bright f/1.4 max aperture, incredibly sharp optics, and beautiful bokeh. Its autofocus is fast and essentially silent, and it offers plenty of controls on the lens body for easier use. And it’s smaller and lighter than Sony’s version as well, making it easier to carry around for a day of shooting. 

Best telephoto prime: Sigma 135mm f/1.8 DG HSM Art

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Lens mounts: Sony E, Leica L

If you want a bit more reach for your portraits, the Sigma 135mm f/1.8 is an absolutely fantastic lens. It offers exceptional sharpness for high-resolution images and stunning bokeh. You’ll be able to get some dramatic portraits with this one. And as an Art lens, it boasts a durable build, so you can use it confidently even in less-than-ideal conditions. 

Best telephoto zoom: Sigma 60-600mm f/4.5-6.3 DG DN OS Sports 

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Lens mounts: Sony E, Leica L

The 60-600mm lens is a new offering from Sigma and is quite the beast of a lens. It offers a whopping 10x zoom, covering everything from the standard range to super telephoto. As a result, it’s useful for all sorts of wildlife encounters, even when the animals get quite close. At 5.5 pounds, it is a large lens, but it’s equipped with six stops of vibration reduction at the long end (and seven when zoomed out) to help with hand-holding even when using slower shutter speeds. It can focus quickly and accurately and provides sharp, highly detailed images. 

Best super telephoto zoom: Sigma 150-600mm f/5-6.3 DG DN OS Sports

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Lens mounts: Sony E, Leica L

While the lens above extends into super telephoto territory, some may want a dedicated super telephoto zoom lens. The Sigma 150-600mm is a fantastic choice and will save you a pound in weight when compared to the 60-600mm. It still offers excellent image quality and sharpness, as well as very fast autofocus for capturing animals in motion. It provides four stops of shake reduction for sharper images. And it’s dust and splash resistant, so you can capture sports and wildlife no matter what the weather. 

Best wide-angle zoom: Sigma 14-24mm f/2.8 DG DN Art

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Lens mounts: Sony E, Leica L

A fast ultra-wide angle lens is a fun way to add a unique perspective to your photos. It’s also a useful tool for landscapes, astrophotography, and real estate. And this Sigma 14-24mm is an excellent choice. I’ve been shooting with this lens for a while and adore it. It’s incredibly sharp, is capable of lovely bokeh, and is silent and fast when autofocusing. It’s a workhorse of a lens for wide-angle lovers.  

Best standard zoom: Sigma 24-70mm F2.8 DG DN Art

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Lens mounts: Sony E, Leica L

A quality 24-70mm lens is hard to beat in terms of versatility, and Sigma’s offering is a great balance of quality and price. It is nice and sharp, focuses quickly and quietly, and features the typical Art lens rugged build qualities. It also provides beautiful bokeh, potentially even better than the Sony 24-70mm GM lens. And it can focus as close as seven inches, making it even more versatile.

The best DSLR Sigma lenses

Sigma has been making DSLR lenses much longer than mirrorless, and as a result, the list of available DSLR lenses is much longer than mirrorless. These lenses all offer a lot of quality for the price and could be used on mirrorless cameras with the right adapter. 

Best 50mm: Sigma 50mm f/1.4 DG HSM Art

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Lens mounts: Canon EF, Nikon F

Though the older version of Sigma’s 50mm Art lens isn’t quite as sharp or high-contrast as the new Sony E-mount lens, it is still a worthwhile buy. It is plenty sharp for most uses, still offers the fast f/1.4 aperture, and still results in beautiful bokeh. It’s also smaller than the new lens, so if you really want to save some weight and space in your bag, this may be the way to go. 

Best 35mm: Sigma 35mm f/1.4 DG HSM Art

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Lens mounts: Canon EF, Nikon F, Sigma SA

Sigma’s 35mm f/1.4 Art is perhaps the best 35mm lens for DSLR cameras, even when compared to the equivalent lenses from Canon and Nikon. It is exceptionally sharp across the entire image, even when wide open. It offers attractive bokeh, and minimal distortion, especially for a 35mm lens. And its autofocus is fast and accurate, with smooth manual focus to boot. It’s an all-around fantastic lens.

Best 85mm: Sigma 85mm f/1.4 DG HSM Art

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Lens mounts: Canon EF, Nikon F

The Sigma 85mm f/1.4 DG HSM cameras is one of the sharpest 85mm lenses available for DSLRs, making this a top choice for those who want high-resolution portraits or tighter landscape shots. And it has minimal vignetting, which is a common issue with this focal length. The autofocus is quick and more accurate than past Art lenses. The downside is that it’s a large lens (2.5 pounds and 3.7 x 5.0 inches). But Sigma packed a lot of quality into it, making it worth the weight. 

Best telephoto prime: Sigma 135mm f/1.8 DG HSM Art

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Lens mounts: Canon EF, Nikon F, Sigma SA

To continue the trend of sharp lenses, Sigma’s 135mm for Canon EF, Nikon F, and Sigma SA is an exceptionally sharp telephoto lens across the entire image. Paired with a high-resolution camera, this lens will offer some highly detailed results. It also has essentially no distortion and results in stunning background blur. Plus, there’s a focus limiter switch to help with autofocus when you know where your subject will be. 

Best telephoto zoom: Sigma 70-200mm f/2.8 DG OS HSM Sports

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Lens mounts: Canon EF, Nikon F, Sigma SA

70-200mm is an extremely versatile focal length, and Sigma’s take on this range is a great one. It utilizes internal zoom, which is especially useful when shooting on a tripod as the balance won’t be thrown off. It is dust- and weather-sealed so you can keep shooting no matter what the weather. And it offers four stops of stabilization to help with sharper results. 

Best super telephoto zoom: Sigma 150-600mm f/5-6.3 DG OS HSM Sports

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Lens mounts: Canon EF, Nikon F, Sigma SA

This ultra-telephoto offers pro-level optics and features at a very reasonable price. The build quality is right on par with Canon’s professional lenses, meaning it will withstand some far-from-ideal conditions. It provides lots of on-lens controls, including a switch for manual focus, autofocus, or full-time manual focus override and a focus limiter switch. And most importantly, it results in excellent image quality even when shooting wide open.  

Best wide-angle zoom: Sigma 24-35mm f/2 DG HSM Art

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Lens mounts: Canon EF, Nikon F

24-35mm lenses are ideal choices for wedding photographers capturing group photos or broad reception shots, as well as landscape and astrophotographers. And Sigma’s 24-35mm has a lot to offer for the price. It is very sharp, with good contrast and great color. It can focus very quickly, so you will get more winning shots even with moving subjects. And it has minimal distortion, especially for a wide-angle lens. The Nikon F-mount version is a bit hard to come by these days, but you can find used versions that will save you some money. 

Best ultra-wide-angle zoom: Sigma 14-24mm f/2.8 DG HSM Art

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Lens mounts: Canon EF, Nikon F, Sigma SA

For those wanting a more dramatic view than a wide-angle, this ultra-wide zoom hits the right notes. The ultra-wide perspective is fantastic for astrophotography, and the fast f/2.8 aperture lends itself to that genre even more. It also features a rounded nine-blade diaphragm, resulting in pleasing bokeh even when shooting at 14mm. It’s a heavy lens—2.65 pounds—but it is built with professionals in mind with weather-sealing and oil- and water-repellent coating on the front element. 

Best standard zoom: Sigma 24-70mm f/2.8 DG OS HSM Art

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Lens mounts: Canon EF, Nikon F, Sigma SA

For those looking for a versatile standard zoom to keep on their DSLR camera, Sigma’s 24-70mm f/2.8 is an excellent choice, especially for the price. It provides a fast f/2.8 aperture and rounded nine-blade diaphragm for attractive out-of-focus backgrounds and better low-light performance. Though it lacks some sharpness on the edges when wide open, it’s overall nice and sharp with fast and accurate autofocus. 

Things to consider before buying Sigma lenses

Camera system

Unfortunately, not all Sigma lenses are available for every mount. Third-party lens options are especially limited for mirrorless systems at the time being. Sigma has only just released its first lenses for Nikon Z-mount, and it has yet to build any lenses for Canon’s mirrorless RF-mount. So for now, if you are a Canon or Nikon mirrorless owner, you’ll either be stuck with DSLR versions of Sigma’s and an adapter, or you’ll just need to wait. 

The good news (for some) is that Sigma is currently making plenty of mirrorless lenses for Sony E-mount and Leica L-mount. You’ll have full pick of a wide range of lenses including prime and zoom options across the full focal length spectrum. 

Sigma Art, Contemporary, or Sport

Sigma produces three distinct lines of lenses: Art, Contemporary, and Sports. Each of these have slightly different focuses and purposes. Sigma explains that the Art line is focused on “sophisticated optical performance.” As the name implies, the Art lenses are intended to be used for creative expression. As such, this lineup includes fast maximum apertures and extremely sharp optics. 

The Sports line is entirely made up of telephoto and super-telephoto lenses. Most are zoom, but there are a few prime telephoto lenses thrown in as well. The Sports lenses are, as the name suggests, intended for documenting action and sports and offer fast focusing. They also are highly customizable with numerous function buttons to make the lens ideal for your use. 

Finally, the Contemporary lineup uses what Sigma says is, “the very latest technology.” As a result, the lenses are more compact than other Sigma lenses but still offer excellent optical quality and performance.

All three types of lenses have a lot to offer, so you can’t go wrong with any of them. It’s simply a matter of what your priorities in a lens are. If you want your kit to be compact and lightweight, the Contemporary line will be best for you. If you are a sports or wildlife photographer, then focus on something from the Sports line. And if you want exceptional image quality with a fast maximum aperture, choose an Art lens.

Prime or zoom

As with lenses from the likes of Canon, Sony, and Nikon, Sigma makes both prime and zoom lenses. So, one of your first considerations when buying a Sigma lens is which to invest in. They each have their advantages, and which is best largely comes down to personal preference and shooting style.

Prime lenses offer only one focal length, meaning you will need to physically move if you want a different perspective. Because they are more simple in terms of technology compared to zoom lenses, they are typically more affordable, offer wider maximum apertures, and better quality.

Zoom lenses will offer a range of focal lengths in one body. They can even offer a range of focal length types within one lens, such as the classic 24-70mm, which has both wide-angle and telephoto. This makes them more convenient and versatile and can keep you from needing to swap out lenses as frequently. But, they are typically pricier than prime lenses and have a slower maximum aperture. They can also be lower in image quality as well, especially budget zooms.

Size & weight

Unfortunately, Sigma’s lenses tend to be bulky and heavy. That’s especially true of its Art and Sports lineup. They are typically quite a bit heavier than their OEM counterparts from the likes of Canon, Nikon, and Sony. Sure, they offer a lot of sharpness and quality, but not everyone wants to mess with a large lens. 

If you are focused on creating a light and compact kit, pay close attention to the lens specs to ensure you aren’t going to end up with something clunky that you have to lug around. Or, stick with the Contemporary lineup for something more compact. 

FAQS

Final thoughts on the best Sigma lenses

Mirrorless lenses:

• Best 50mm: Sigma 50mm f/1.4 DG DN Art
• Best 35mm: Sigma 35mm f/1.4 DG DN Art
• Best 85mm: Sigma 85mm f/1.4 DG DN Art
• Best telephoto prime: Sigma 135mm f/1.8 DG HSM Art
• Best telephoto zoom: Sigma 60-600mm f/4.5-6.3 DG DN OS Sports
• Best super telephoto zoom: Sigma 150-600mm f/5-6.3 DG DN OS Sports
• Best wide-angle zoom: Sigma 14-24mm f/2.8 DG DN Art
• Best standard zoom: Sigma 24-70mm F2.8 DG DN Art

DSLR lenses:

• Best 50mm: Sigma 50mm f/1.4 DG HSM Art
• Best 35mm: Sigma 35mm f/1.4 DG HSM Art
• Best 85mm: Sigma 85mm f/1.4 DG HSM Art
• Best telephoto prime: Sigma 135mm f/1.8 DG HSM Art
• Best telephoto zoom: Sigma 70-200mm f/2.8 DG OS HSM Sports
• Best super telephoto zoom: Sigma 150-600mm f/5-6.3 DG OS HSM Sports
• Best wide-angle zoom: Sigma 24-35mm f/2 DG HSM Art
• Best ultra-wide-angle zoom: Sigma 14-24mm f/2.8 DG HSM Art
• Best standard zoom: Sigma 24-70mm f/2.8 DG OS HSM Art

The best Sigma lens will entirely depend on your needs and what you will be using the lens for. Luckily Sigma makes an extremely wide range of high-quality lenses for different lens mounts, providing something for just about everyone. We’re eagerly waiting to see more mirrorless options for Nikon and Canon, but in the meantime, the Sony E-mount, Leica L-mount, or DSLR lenses offer a lot of value.

Why trust us

PopPhoto has a long history of delivering the opinions of some of the sharpest and most prolific camera dorks the world has to offer. Since 1937, we’ve been reviewing cameras, providing wisdom from well-known photographers, and generally just nerding out about all that goes into making great pictures. Our current crop of writers and editors have decades of professional photography and camera writing experience among them. Collectively, we’ve probably shot with just about every camera and lens combo you can imagine—as well as some obscure stuff you may not even know about. Remember the Casio Tryx folding camera? PopPhoto does.

We also get that buying a camera is a big decision, which is why we’re dedicated to helping folks choose the right one (or, in our case “ones”) for their needs. Case in point: Handing over top dollar for an expensive rig may leave you unsatisfied if it doesn’t fit your preferred shooting style. Sure, a $6,000 sports-oriented DSLR can capture landscapes, but do you really need to do it at 30 frames-per-second? No, you don’t.

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Sigma has announced that it is finally launching interchangeable lenses for Nikon’s Z-mount mirrorless cameras. The launch includes three f/1.4 prime lenses in the company’s Contemporary line for APS-C cameras: 16mm F1.4 DC DN Contemporary, 30mm F1.4 DC DN Contemporary, and 56mm F1.4 DC DN Contemporary. All three are already available for Sony E-mount, Canon EF-M mount, FUJIFILM X Mount, Micro Four Thirds mount, and L-Mount. In fact, it was almost exactly a year ago that Sigma announced these same three lenses for X mount. The Sigma lenses for Nikon Z-mount are exactly the same as the ones for the other mounts, other than support for Nikon Z-mount.

Who are they for?

Sigma designed these three lenses for APS-C Z-mount cameras, such as the Z30, Z50, or Zfc. The 16mm, 30mm, and 56mm lenses will offer full-frame equivalent fields of view of 24mm, 45mm, and 84mm, respectively. That provides Nikon APS-C mirrorless users with a wide-angle, normal, and telephoto prime lens. It’s a well-rounded set if someone gets all three. 

All three Sigma lenses for Nikon Z-mount also offer a fast f/1.4 aperture. This makes them better in low-light conditions, such as when photographing weddings, night skies, or other indoor shoots. All three also contain rounded nice blare diaphragms for pleasing bokeh and shallow depth of field, making them useful for portraits and product photography. 

All three of the lenses are part of the Contemporary line from Sigma, meaning they are more compact and affordable than the Art or Sport lenses. All weigh less than a pound and are all-around tiny, making them fantastic travel lenses.

Of course, each focal length will have its own strengths. The 16mm lens is ideal for landscapes, street photography, and astrophotography. The 30mm is a do-it-all, walk-about lens, but it also works very well for portraits. Finally, the 56mm lens offers the ideal portrait focal length for APS-C cameras. 

Build quality & optics

16mm F1.4 DC DN | Contemporary

The 16mm lens comprises 16 elements in 13 groups. It weighs just 14.3 ounces. And it measures only 3.6 inches long and 2.8 inches wide. It uses 67mm filters and offers a minimum aperture of f/16. The lens can focus as close as 9.8 inches and provides a 1:9.9 magnification ratio.

30mm F1.4 DC DN | Contemporary

The 30mm lens is made up of nine elements in seven groups. It is the lightest of the three at 9.7 ounces. And it measures 2.9 inches long by 2.6 inches wide. It uses 52mm filters and also offers a minimum aperture of f/16. The minimum close focusing distance is 11.8 inches, with a 1:7 maximum magnification ratio. 

56mm F1.4 DC DN | Contemporary

Finally, the 56mm lens includes 10 elements in six groups. It weighs 9.9 ounces and is 2.4 inches long and 2.6 inches wide. This telephoto lens offers a 19.6-inch minimum close focusing distance with a 1:7.4 maximum magnification ratio. It also features a minimum aperture of f/16. And it utilizes a 55mm filter.

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Sigma has announced a new lens in its Sports line, the 60–600mm F4.5–6.3 DG DN OS lens. While it already makes a 60-600mm for DSLR cameras, it says that this is the first and only 10x ultra-telephoto zoom lens for mirrorless cameras (Sony E-mount and L-mount). While it’s designed for full-frame cameras, it will work on APS-C bodies, providing a 90-900mm equivalent angle of view. It offers a versatile focal length from normal to ultra-telephoto, making it an ideal tool to have for wildlife and sports photography but also for travel, for those who don’t mind bringing larger lenses along.

Sigma 60–600mm F4.5–6.3 DG DN OS design & build

In order to achieve its massive reach and maintain quality, the lens features an unsurprisingly complex optical design. It consists of 27 elements in 19 groups, including three Special Low Dispersion (SLD) elements and two ‘F’ Low Dispersion (FLD) elements. These help to reduce color fringing and chromatic aberrations for better clarity and color across the zoom range. Additionally, a Super Multi-Layer Coating has been used to cut down on lens flare and ghosting, even in backlit conditions. And the front lens element features a water and oil-repellent coating to keep the lens clean and clear.

The lens body features a multi-material structure including a Thermally Stable Composite (TSC) material, along with traditional metals such as magnesium. This structure cuts down on weight while remaining rugged and sturdy. And while not fully weatherproof, Sigma has specified that the mount connection, manual focus ring, zoom ring, switches, switch panel and exterior connection are all dust and splash resistant.

The 60-600mm provides a minimum focusing distance of 17.7 inches at 60mm and 102.4 inches at 600mm with a 1:2.4 magnification ratio at 200mm. And it features a 105mm front filter thread

Sigma 60–600mm F4.5–6.3 DG DN OS features

In this lens, Sigma has utilized a newly designed HLA (High-response Linear Actuator) focusing motor that should provide fast, accurate, and quiet autofocus. Sigma also says that the new motor should offer excellent focus following performance, making it perfect for fast-action sports and wildlife photography.

It also uses a newly updated Optical Stabilizer system, which provides seven stops of stabilization at the wide end and six stops when zoomed in. That will open up the doors significantly for shooting handheld. And the lens allows you to switch between two stabilization settings. You can choose to use the all-around setting, or if you want panning shots, you can turn off the correction of lateral movement.

Another unique feature of the lens is the dual-action zoom design. It allows you to zoom in either by twisting the zoom ring or pulling or pulling the lens for quicker results. That means you can either get really precise zoom control or zoom all the way in almost instantly. It’s another ideal feature for fast-moving subjects.

Sigma 60-600mm F4.5–6.3 DG DN OS pricing & availability

The lens is available for pre-order now for $1999 and will start shipping in mid-February. It’s available for both Sony E-mount and L-mount.

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Sigma and Tamron lenses already offer lower-cost yet quality alternatives to Canon, Sony, and Nikon lenses. And right now, they are even more affordable during an early Black Friday sale on Amazon. If you’ve been considering getting a new lens to fill out your arsenal of gear or are a generous soul and want an exciting gift for a photographer, it’s a great time to do so.

Sigma 16mm f/1.4 DC DN Contemporary Lens for Sony E $374.00 (was $620.00)

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A good wide-angle lens is something every photographer should have available. Designed for Sony APS-C photographers, this lens offers a 35mm equivalent focal length of 24mm. It provides an extremely fast f/1.4 maximum aperture for strong low-light performance, making it a great tool for capturing wedding receptions or night skies. The wide aperture also helps to create separation between your subject and the background and even results in some attractive bokeh. It’s one of the best APS-C wide-angle lenses you can get for your Sony camera, and this price makes it even more enticing.

TAMRON 11-20MM F/2.8 DI III-A RXD for Sony E APS-C Mirrorless Cameras $649.00 (was $829.00)

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Sony APS-C users sure have a good selection of affordable wide-angle lenses to choose from during this early Black Friday sale. This Tamron lens offers a 16-30mm equivalent focal length, which is an ideal range for real estate, landscape, astrophotography, and even event coverage. It offers a lot of sharpness and quality in a very compact body, so it won’t feel out of place on the smaller APS-C cameras. And it’s moisture-resistant, giving you peace of mind if you get caught in bad weather.

Additional Tamron lens deals:

• Tamron SP 150-600mvm F/5-6.3 Di VC USD G2 for Nikon Digital SLR Cameras $1,199.00 (was $1,399.00)
• Tamron 17-28mm f/2.8 Di III RXD for Sony Mirrorless Full Frame/APS-C E Mount $799.00 (was $899.00)
• Tamron 150-500mm f/5-6.7 Di III VC VXD Lens for Full Frame Sony $1,299.00 (was $1,399.00)
• Tamron SP 70-200mm F/2.8 Di VC G2 for Canon EF DSLR $1,199.00 (was $1,299.00)
• Tamron 70-180mm F/2.8 Di III VXD for Sony Full Frame/APS-C E-Mount $1,099.00 (was $1,199.00)
• Tamron SP 150-600mm F/5-6.3 Di VC USD G2 for Canon Digital SLR Cameras $1,199.00 (was $1,399.00)
• Tamron 17-70mm f/2.8 Di III-A VC RXD Lens for Sony E APS-C $749.00 (was $799.00)
• Tamron 18-400mm F/3.5-6.3 DI-II VC HLD All-In-One Zoom For Nikon APS-Cv Digital SLR Cameras $599.00 (was $649.00)

Additional Sigma lens deals:

• Sigma 35mm F1.4 Art DG HSM Lens for Canon $799.00 (was $899.00)
• Sigma 150-600mm 5-6.3 Contemporary DG OS HSM Lens for Canon $899.00 (was $1,089.00)
• Sigma 35mm F1.4 Art DG HSM Lens for Nikon $799.00 (was $899.00)
• Sigma 100-400mm F5-6.3 Contemporary DG DN OS for Sony E Mount $799.38 (was $949.00)
• Sigma 150-600mm 5-6.3 Contemporary DG OS HSM Lens for Nikon $899.00 (was $1,089.00)

The post Save on Sigma and Tamron lenses during this early Black Friday sale appeared first on Popular Photography.

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You can start your week with some good news if you’re in the market for a wide-angle lens and shoot a full-frame E-mount or L-mount camera. Sigma has just announced two new Art-series, wide-angle primes, the Sigma 20mm f/1.4 DG DN and Sigma 24mm f/1.4 DG DN, both of which ship later this month.

Of the pair, the Sigma 20mm is the more specialized optic, while the Sigma 24mm is the more compact option and likely to have broader appeal. Both are designed specifically for mirrorless cameras and follow in the footsteps of earlier lenses which were available in either SLR or mirrorless variants.

Related: Sigma 35mm f/2 DG DN prime lens review – A solid performer

Who are they for?

Both lenses are aimed at astrophotographers in particular, as they are designed to render point light sources sharply and with high detail. With that said, either lens could also be used for more general subjects, and the 24mm, in particular, is also aimed at both photographers and videographers shooting subjects as diverse as landscapes, architectural, street and wedding photography.

Build quality

The 20mm f/1.4’s predecessor is the 20mm f/1.4 DG HSM Art which first arrived in late 2015. The 24mm f/1.4, meanwhile, follows on from the 24mm f/1.4 DG HSM Art, first introduced earlier the same year. Both lenses are far smaller and lighter than their immediate predecessors, just as you’d expect given that these are now mirrorless-specific lenses rather than repurposed SLR designs.

When compared to the SLR-friendly 20mm f/1.4, its mirrorless equivalent is a full 1.6 inches shorter and weighs almost 40% less than before. The 24mm f/1.4 hasn’t lost quite as much heft, but it’s still 31% lighter, 0.7 inches shorter, and has shed 0.4 inches in diameter when compared to its SLR-oriented forebear.

Both lenses are veritably packed with controls. Each has both manual focus and aperture rings, as well as a focus mode switch, customizable focus hold button, and a switch that can disable the optional click detent for the aperture dial, allowing smooth and stepless aperture control during video recording. In addition to these, Sigma has debuted a new Manual Focus Lock switch on both lenses, allowing you to override the focus ring and prevent accidental changes of focusing distance between shots.

The pair are also both dust and water-resistant thanks to comprehensive sealing, not just at their brass lens mounts but also for all controls and seams throughout. Both also include rear filter holders, locking petal-type lens hoods and, for the L-mount variants only, compatibility with Sigma’s optional UD-11 USB Dock accessory. Up front, you’ll find 82mm filter threads on the 20mm f/1.4, and 72mm threads on the 24mm f/1.4. In addition, the 20mm optic includes a lens heater retainer to help astrophotographers avoid condensation issues.

Focus

The two new lenses also share swift, silent stepper motor-driven autofocus systems and use an inner-focusing design. They’re also both compatible with high-speed autofocusing and full-time manual focus override, regardless of the lens mount.

Sony E-mount variants are also compatible with autofocus assist, while L-mount versions alone allow a choice of either linear or non-linear focus ring control.

Optical design

Both lenses feature complex optical formulae with a bevy of different exotic elements and coating types in play. The combination of all these technologies, says Sigma, should deliver sufficient image quality to satisfy pros. Of particular importance to astrophotographers, both lenses are said to render point light sources crisply, thereby avoiding issues with sagittal coma flare. The duo also aim to minimize distortion.

The 20mm f/1.4 features 17 elements in 15 groups, including two SLD and three aspheric lens elements. The 24mm f/1.4, meanwhile, has the same number of elements with one fewer group but boasts two FLD, one SLD, and four aspheric elements, including a double-sided aspheric front element. The two lenses also share 11-bladed, rounded aperture diaphragms, and are capable of stopping down to f/16.

Both lenses use hydrophobic and oleophobic coatings on the front lens elements to help prevent smudges, water droplets, and dust from adhering to them, as well as Sigma’s Super Multi-Layer coatings, to help combat flare and ghosting. In addition, the 24mm adds Sigma’s silica-based Nano Porous Coating for better results with backlit subjects.

Pricing & availability

Both new lenses will be available in the US market in both Leica L-mount and Sony E-mount variants from late August 2022. The Sigma 24mm f/1.4 DG DN Art will be the more affordable of the pair, priced at $799. The 20mm f/1.4 DG DN Art, meanwhile, will cost $899.

Sample images

Sigma has provided the following sample images showing the new 20mm and 24mm lenses in use.

The post New gear: Sigma 20mm & 24mm f/1.4 primes for full-frame mirrorless appeared first on Popular Photography.

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