Đánh giá sigma 35 1.4 art e-mount năm 2024
Sigma announced the Sigma 35mm f/1.4 DG HSM Art during the 2012 Photokina. The lens is part of the company's "Art" series of lenses, ostensibly aimed at (and priced for) the pro-sumer market. The lens was designed to fit full-frame bodies, but can also be used on sub-frame (APS-C) cameras; the lens is available to fit Sigma SA, Canon EF, Nikon F, Sony A, Sony E and Pentax K mounts. On APS-C sensor bodies, the lens will produce an effective field of view of 56mm (Canon) or 52mm (Nikon, and others). The main feature of the lens is its constant and fast ƒ/1.4 aperture. The Sigma 35mm ƒ/1.4 DG HSM takes 67mm filters, ships with a petal-shaped lens hood and is available now for around $900. Sharpness The Sigma 35mm ƒ/1.4 DG HSM produces surprisingly sharp results, even when used at its wider apertures, though it must be stopped down slightly for maximal sharpness. Mounted on the full-frame Canon 1Ds mkIII, the lens produces images with a sharp center but significantly soft corners when used wide open at ƒ/1.4. For isolating a subject this is actually quite good, but if you want corner to corner sharpness you will need to stop down significantly. Stopping down to just ƒ/2 everything gets a little sharper, but corner softness isn't really addressed; you have to stop down to ƒ/2.8 for that, where the corners are tamed enough that the lens is offering practically tack-sharp performance from corner to corner. This performance continues through to ƒ/8, and diffraction limiting begins to set in at ƒ/11, but you don't see the impact of this until ƒ/16, where a generalized softness begins to descend upon the image. Mounted on the subframe Canon 7D, performance for sharpness is very similar, perhaps a bit more forgiving at the ƒ/1.4 setting. Chromatic Aberration The Sigma 35mm ƒ/1.4 DG HSM provides a very good level of resistance to chromatic aberration, and it's fairly constant across the range of apertures (if you see it, you'll see it in the corners in areas of high contrast). Even more noteworthy is a low amount of longitudinal chromatic aberration, which is typical of very fast lenses (ie., ƒ/1.4 or faster). This CA is evident in this lens, showing as magenta fringing on areas outside the plane of focus, but its not as prevalent as other fast glass we have tested. Shading (''Vignetting'') Corner shading isn't really a problem on the sub-frame Canon 7D, with the only noteworthy results being extreme corners that are 1/3EV darker than the center, when set to ƒ/1.4. At any other setting, light falloff is insignificant. On the full-frame 1Ds mkIII however, it's more significant: at ƒ/1.4 light falls off to make the extreme corners more than a full stop darker than the center; at ƒ/2, this falloff lowers to around 2/3EV. At ƒ/4 and smaller apertures, falloff results are a quarter-stop or less, which isn't really significant. Distortion The 35mm ƒ/1.4 DG HSM does fairly well to restrict distortion, showing a consistent +0.2% barrel distortion in the corners when mounted on the Canon 7D. On the 1Ds mkIII, there's just slightly more distortion, with a maximum result of +0.25% Autofocus Operation The Sigma 35mm ƒ/1.4 uses Sigma's HSM (Hypersonic Motor) focusing technology. While this system has historically produced fast and near-silent autofocus results, the implementation is a bit different on the 35mm, where it is slower than we'd expect, taking more than a second to focus between infinity and close-focus. The focus ring doesn't move during focusing, and autofocus results can be overridden at any time by simply turning the focus ring. Macro The lens isn't designed as a macro lens, but provides 0.19x magnification when used at its minimum close-focusing distance of just under 12 inches (30cm). Build Quality and Handling Sigma has moved in a new direction with its lens design. It has designed three categories within its new "Global Vision" of lenses - Sports, Art and Contemporary, and a new look is part of the package. The 35mm features a new finishing texture, doing away with the rubberized finish that had a tendency to break down over time and use. Instead the lens features a shiny black section of finishing near the lens mount, then a dull matte finish on the lens midsection. Half of this matte finished area is ridged, presumably for better handling. A shiny "A" is emblazoned on the side of the lens. There are 13 elements in 11 groups in the lens, including SLD and FLD elements. The focus is an internal floating focus mechanism designed to give better optical performance at close distances. The aperture is composed of a 9-blade diaphragm and interestingly, these blades are not rounded. The lens was built in Japan. The build quality of the lens is good, and it has a very sturdy feel to it. The lens features a focusing ring and a switch to enable or disable autofocus, as well as a distance scale marked in feet and metres, protected under a plastic window. This distance scale features a single depth-of-field marker for the ƒ/16 aperture setting; there is no infrared index. The focusing ring is about an inch wide, composed of rubber with deep ribs. The ring is easy to turn but offers a solid level of resistance so accidental focus adjustments are minimized. The lens' focusing range ends in soft stops: an increase in resistance lets you know you can't focus any further in either direction. Focusing operations will not rotate any attached 67mm filters, making life that little bit easier for polarizer users. The lens is compatible with Sigma's new USB lens mount, which lets users apply firmware updates and make fine-tuned adjustments to lenses from their own computer. Unfortunately we didn't get a chance to play with the dock to see how these adjustments play out, but its very presence is a shot across the bow to the major manufacturers. The LH730-03 petal-shaped lens hood is around 2 inches in depth. The hood is a bayonet-mount that reverses onto the lens for easy storage. The interior of the hood is ribbed and works well to reduce generalized veiling flare. It's also worth noting the new design of the lens cap, which features a deep push-style mechanism for attaching and removing the cap. Alternatives Nikon 35mm ƒ/1.4G ~$1,800 Despite being twice as expensive, we found the Sigma to be on an aperture-to-aperture basis a slightly sharper lens, with the Sigma 35mm producing tack-sharp results the Nikon 35mm could not. Chromatic aberration is also a bit lower: vignetting and distortion results are about the same. The Nikon is weather-sealed, where the Sigma is not. Canon 35mm ƒ/1.4L USM ~$1,400 More expensive than the Sigma, the Sigma was able to produce images that were slightly sharper than the Canon, though some stopping down was required: at wide apertures, the Canon has intense corner softness. Carl Zeiss 35mm ƒ/1.4 Distagon ~$1,800 We haven't yet tested this expensive Carl Zeiss glass. Pentax 21mm ƒ/3.2 Limited SMC P-DA ~$550 The Pentax 21mm would produce a similar field of view as the Sigma 35mm; it produced almost as sharp results, with similar results for CA, distortion and corner shading. The Pentax is a much smaller and more portable lens. Sony 35mm ƒ/1.4 G SAL-35F14G ~$1,300 Sony's offering in this category proved to be sub-par, with very soft results wide open at ƒ/1.4. Conclusion Sigma's produced an excellent lens in the 35mm ƒ/1.4 DG HSM, with comparatively great performance at the ƒ/1.4 aperture setting, where the lens will no doubt be used for the majority of the time. There's a lot to like here: great results for sharpness, low chromatic aberration, and low distortion. There is some significant corner shading when used wide open, but coupled with the corner softness at the same aperture settings this contributes to an interesting look and subject isolation. If you're looking for corner-to-corner image sharpness you'll need to stop down. The Sigma 35mm ƒ/1.4 is definitely priced to compete, and designed to perform. Product Photos Sample Photos The VFA target should give you a good idea of sharpness in the center and corners, as well as some idea of the extent of barrel or pincushion distortion and chromatic aberration, while the Still Life subject may help in judging contrast and color. We shoot both images using the default JPEG settings and manual white balance of our test bodies, so the images should be quite consistent from lens to lens. As appropriate, we shoot these with both full-frame and sub-frame bodies, at a range of focal lengths, and at both maximum aperture and ƒ/8. For the ''VFA'' target (the viewfinder accuracy target from Imaging Resource), we also provide sample crops from the center and upper-left corner of each shot, so you can quickly get a sense of relative sharpness, without having to download and inspect the full-res images. To avoid space limitations with the layout of our review pages, indexes to the test shots launch in separate windows. Sigma35mm f/1.4 DG HSM ArtSigma 35mm f/1.4 DG HSM Art User Reviews9.3/10average of 15 review(s) Build Quality9.2/10 Image Quality9.6/10
10 out of 10 pointsand recommended by oregoncameradog (1 reviews) Sharp, sharp, sharp! None to speak of. This is the sharpest lens I have ever owned. It has no peer or close competitor in either quality or price. I have no regrets about getting it. |