If you lean towards shooting more video than stills, the Tamron is a good choice as it has the best manual focus ring (by a good measure), longer focus throw, and adds an effective image stabilizer to the mix. Above: Sony’s 35 1.4 G Master here on the right is actually 14mm shorter than the new Sigma and 120g lighter. Once mounted on a body though they’re in a similar ball-park and you won’t notice much difference in a bag. The undisputed heavy-weight here is the Sigma 35 1.2 on the far right, longer and wider at 88x136mm and around 50% heavier at 1090g – you really know when you’re carrying that one. And finally on the far left, the Sigma 35 f2 is smaller at 70x65mm and roughly half the weight of the two 1.4s at 325g. Oh, and in case you wondered, Sony’s 35 1.8G measures 66x73mm and is lighter than all four here at just 280g.

Stopping down to f/2 helps correct the lemon or cat-eye shape, but also further accentuates the signature of both lenses. The Sigma is bit more “patterned”, and the concentric circles are slightly more defined on the Canon. The Sigma does a slightly better job of retaining circular shape, with the Canon showing the first hints of the shape of the aperture blades. Celkově jde o velmi dostupný objektiv s vynikající ostrostí, kresbou a obrazovou kvalitou již od nejnižších clon. Vhodné především na focení akcí vevnitř nebo v tamvších prostorách, kde jde o širokoúhlé sklo na FF těle. Je jedno jestli půjde o svatby, školení, semináře ....

It’s the first 40mm f/1.4 lens the company has ever made and the construction unites 16 elements in 12 groups – a more complex arrangement than the 13 elements in 11 groups found inside the 35mm f/1.4 DG HSM Art and the 13 elements in 8 groups you get inside the 50mm f/1.4 DG HSM Art. Low dispersion glass Above: And finally the Sigma 35 1.2 at the bottom, reproducing 165mm across the frame, making all three Sigma lenses similar in this regard. The Sigma 1.2 is however sharper than the 1.4 in the middle and maintains this closer to the edges too – and remember this was shot at f1.2 as well. All four lenses improve their edge sharpness when closed, but the two most expensive models are already excellent out of the gate.

Above: Moving into the corner shows the Sigma 1.2 suffering more from vignetting, but look through it and you’ll see it impressively maintaining sharpness across the frame – and remember this is with the aperture wide-open. Note the Sigma 35 1.2 is delivering a slightly narrower field of view than the other four lenses, and is probably closer to around 38mm. I’m glad I’m able to show this lens at its sharpest here, but again it struggled to perform consistently in my tests with the Alpha 1 in autofocus. Above: Now for the Sony 35 1.4 G Master at the bottom where it’s reproducing 134mm across the frame, delivering the greatest magnification in this foursome, although you will need to manually focus from this distance. More importantly though it’s crisper in the middle and while it softens towards the edges, it’s still ahead of the Sigma 1.4.When the Sigma 40mm f/1.4 DG HSM Art was announced in late 2018, it sat in-between Sigma’s 35mm f/1.4 DG HSM Art and 50mm f/1.4 DG HSM Art, both hugely popular with image-makers of all levels. You can read why we rate the latter as a great used lens here. New and used prices Well it's relatively unsharp at mfd compared to the GM (more than twice as expensive in Sweden) and the old Sigma 1,4 HSM but not really at around half a meter and the bokeh at middle distances is supposedly a bit smoother than those two's bokehs. Looks that way in the fredmiranda thread about this lens. This is an in-depth review of the Sigma 35mm f/1.4 DG HSM Art prime lens that was announced at one of the largest photo shows in the industry, at Photokina in Germany on September 17, 2012 for Sigma, Canon, Nikon, Pentax and Sony mounts. The announcement came on the same day with Sigma’s new restructuring of its lens lineup, with three new categories that would differentiate different types of lenses: “Contemporary” for small and lightweight consumer lenses, “Art” for professional zoom and prime lenses and “Sports” for long lenses targeted at sport and wildlife photography. Being a professional-level lens targeted at a variety of photography needs, including portraiture, landscapes and travel, the 35mm f/1.4 is the first Sigma lens that falls into the “Art” category. I find that the lens give a cool, slightly purple tinted creamy color pallet, which on a Canon sensor is perfect for creating a more natural look than Canon seems to think we want as photographers. In case you want the best simply go for any of the recent GM primes. The Sony engineers have not only the willingness but also the funding form a huge company that strives for perfection.

Objektiv používám krátce, ale jsem s ním velmi spokojená. Má krásný bokeh a velmi pěknou ostrost již od nejnižší clony. Překvapila mě i pěkná hloubka ostrosti, působí někdy dojmem, jako by bylo foceno delším ohniskem.As an experienced lens manufacturer that has been creating a diverse range of interchangeable lenses, we have started the innovative chargeable service “Mount Conversion Service”. With this service, the mount of your current SIGMA lenses can be changed to another mount of your choice. It gives a new life to your favourite lenses when you wish to use it on a different camera body. My hit rate was highest when the subjects were in the range of 5-10 feet (the lens was calibrated at the recommended six-foot distance). The keeper rate with the Sigma dropped to under 64%. If you intend to shoot events, sports, or photojournalism, the Canon proved the much more reliable option in this scenario…and that might be worth the premium price in and of itself. If you need to shoot this style and can’t afford the 35L II, I might recommend considering the 35mm f/2 IS instead. It has a slower aperture, yes, but it has an image stabilizer and similar full ring USM focus that is extremely fast and accurate. I’ve used it for a couple of years and it has proven one of my most accurately focusing lenses. Sigma is arguably one of the more recognizable of the third party lens manufacturers. It is known for providing inexpensive alternatives to many of Canon's own zoom lens offerings, or filling niche gaps left in Canon's lineup. This applied to their limited selection of prime lenses as well; I briefly owned their 30mm f/1.4 EX DC and was happy with it on a consumer level, though the optics didn't hold up to some of the more pressing work I did and a move to full-frame (it's a “DC” lens, denoting it's for Digital Camera's only, and specifically crop sensors) meant I wouldn't be able to use it anyway. They released a 50mm f/1.4 EX DG that retailed for MORE than the Canon equivalent; their stance was that it performed better optically and had better build, both of which may very well be true. But pervasive issues of quality control, of batch variance where you never know for sure if the lens you get will be anywhere close to being as good as it can be, or as it is advertised, and a stigma (pun?) attached to owning something “inferior” than a first party “L” lens kept many consumers away. The 40mm f/1.4 DG HSM Art flanked by the 35mm f/1.4 DG HSM Art (right) and the 50mm f/1.4 DG HSM Art (left)