Take a look at the very top of the crop there is basically no fringing at all, which is different than what we saw on the Canon L glass. I'm going to go with it's got less fringing. On the Sigma there is either a lot less fringing or it just blends better because it's green rather than the Canon L's purple. You will notice that, aside from some purple fringing where the white script meets the black background, the image has nice defined focused lines and crisp details. Therefore, the image below was shot at f/1.4: ![]() I chose to shoot the same subject at the widest possible aperture with all three lenses. But let's get started and take a look at how all three performed in studio.įirst up is the Canon 35mm f/1.4 L. In everyday situations, it did just fine. I'll agree, some of the chromatic aberration coming out of the Canon f/2 is pretty significant, but outside of my white shooting box things weren't so noticeable. ![]() That's right, they're all pretty darn good. I shot in studio, during the day and at night to try and select my favorite of these three great lenses. Below are the prices (not sale prices) that you can expect: What do you think? Do you already have the original 35mm F1.Before we go into the performance, let's look at price point and keep that in mind while we compare results. Each lens and all of its parts is built entirely at SIGMAs sole factory in Aizu in Japan. We’ll see if other mounts like Nikon Z or Canon RF will follow the initial Leica L and Sony E-mount options, but for now it’s only the latter two. Or, if you need a more compact option, maybe the SIGMA 35mm F2 DG DN | Contemporary ($ 639) might be worth a closer look. And if you want even more, you might want to check out the 35mm F1.2 DG DN | Art, although it’s more expensive ($1,499) and bigger in size. The “old” version is still available for $799. ![]() The new SIGMA 35mm F1.4 DG DN | Art will sell for $899 and it should be available soon (mid May). The lens comes with a locking petal type hood. Minimum focusing distance: 30 cm / 11.8 in.Number of diaphragm blades: 11 (rounded diaphragm).Lens construction: 11 groups, 15 elements (1 FLD, 1 ELD, 2 SLD and 2 aspherical lens).Here’s a quick rundown of the bare specs of the SIGMA 35mm F1.4 DG DN | Art lens: In addition, the front lens has a water and oil repellent coating. The entire lens is dust- and splash-proof and features sealed buttons and a rubber gasket around the mount. There is a customizable AFL button on the body of the lens that can be assigned different functions depending on the camera body used. Additionally, the aperture can of course be controlled manually or set to automatic. Speaking of manual operation of the lens, it also has a de-clickable aperture ring, a handy feature for filmmakers. Of course, the lens offers an MF/AF switch, so you can focus manually using the focus ring on the lens. This allows for smooth, fast and precise AF performance. ![]() The autofocus of the new 35mm F1.4 DG DN features a stepper motor that controls a focusing lens group consisting of a single lightweight element. The iris diaphragm consists of 11 rounded aperture blades that allow for a soft bokeh with rounded out-of-focus highlights. Image credit: SIGMAĪnti-ghosting and anti-flaring are two more features SIGMA throws into the mix, so this lens performs very well even in difficult lighting conditions like backlighting. A feature that is especially attractive to night sky photographers. Image credit: SIGMAĪccording to SIGMA, the new 35mm should perform very well even wide open, as the lens design is able to control sagittal coma flare very well, preventing bright points of light from flaring near the edges of the image. Since this lens was developed from scratch, let’s talk about the lens design: The new SIGMA 35mm F1.4 DG DN | Art consists of 15 elements in 11 groups, including one FLD (‘F’ Low Dispersion), one ELD (Extraordinary Low Dispersion), two SLD (Special Low Dispersion) and two aspherical lenses that minimize all types of aberration, including axial chromatic aberration that cannot be corrected in-camera.
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