Lớp tráng phủ Super Multi-Layer Coating giúp giảm thiểu hiện tượng loé sáng (flare), đảm bảo vẫn giữ được độ tương phản cao trong điều kiện ngược sáng. The RF lens maintains a slight advantage over the Sigma at f/2.8 and f/4, and although the EF lens looks a little sharper at these values, it doesn’t come close to either of its rivals. f/2.8 f/4 Sigma’s service can change the mount of the lens between Nikon, Canon, Sony, Sigma, and L-mount (at a cost). This is a unique feature that no other manufacturer offers. [++] The first test scene of the day was a nice dandelion in some shade. In this scene, I specifically was looking for bokeh and sharpness. Before I tell you my thoughts on how they compare, take a look at the two shots yourself. Which one is which?

Sigma 40mm f/1.4 DG HSM Art review - Amateur Photographer Sigma 40mm f/1.4 DG HSM Art review - Amateur Photographer

His expertise with equipment doesn’t end there, though. He is also an encyclopedia when it comes to all manner of cameras, camera holsters and bags, flashguns, tripods and heads, printers, papers and inks, and just about anything imaging-related. Full time manual focus can be applied by simply adjusting the focus ring at any time. Manual focusing is a pleasure as the focus ring is very smooth to operate and quite heavily damped. Closest focusing is 40cm from the sensor plane, which is fairly typical for a lens of this focal length and aperture. There is really no comparison here. The Sigma is again better than the 50mm F/1.8. It is sharper, has less distortion, and less CA. There is literally not one thing about the Canon 50mm F/1.8 that I find to be superior to the Sigma. Compared Wide Open at F/1.4 and F/1.8 This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license agreement with Sony Corporation.

The three-digit code on the surface of the lens is to indicate the year the lens was first released. This set of three images of defocused fairy lights were shot at f/1.4, f/2 and f/2.8. They show minimal ‘onion ring’ effect and that the 11-blade aperture diaphragm remains well-rounded when stopping down a little. Lab results

Head2Head: Sigma 50mm F/1.4 DG HSM Art vs. Canon 50mm f/1.2 Head2Head: Sigma 50mm F/1.4 DG HSM Art vs. Canon 50mm f/1.2

A good example is the Sigma 50mm 1.4 Art, which is a third of the price of the RF lens. Although it is half of a stop slower and doesn’t offer quite the same level of edge-to-edge sharpness, it can still produce very satisfying results even at the fastest apertures.

The focus ring on the Canon leaves a lot to be desired, and makes manual focus a pain. The Sigma, on the other hand, provides an ideal manual focus experience with a smooth motion and good feel. Optically speaking the Sigma 50mm Art is superior to the Nikkor 50mm f1.4G in our tests. It’s sharper across the frame and suffers from fewer undesirable artefacts like bokeh outlining, vignetting or coma. But the Nikkor 50mm f1.4G is smaller and lighter, so it’s much easier to carry and looks inconspicuous mounted on any camera body. can be content with “very good” rather than “extreme” sharpness at the fastest apertures or in the corners

Sigma 50mm f/1.4 DG HSM Art Review - More Image Samples Sigma 50mm f/1.4 DG HSM Art Review - More Image Samples

But there are other 50/1.4 lenses to be had. So does the performance of the Sigma 50mm f1.4 ART match the corresponding mark-up in price, and what if you’re considering the Zeiss Otus, the most expensive ‘standard’ lens on the market? Let me go through all alternatives step-by-step. Obviously there is some difference here due to the Sigma being wide open at F/1.4 and the Canon being wide open at F/1.8. Looking at the 100% crops below and you will see that the Sigma is clean and sharp, while the Canon is hazy and barely useable. The RF 50mm f/1.2 was one of four launch-day lenses along with the RF 24-105mm f/4, RF 35mm f/1.8 macro, and the RF 28-70mm f/2. In this particular comparison, we’ve pitted it against two existing fast-aperture 50mm primes for the EF mount, the EF 50mm 1.2 and the Sigma 50mm 1.4 Art, both of which can be used on the EOS R with full compatibility thanks to the EF-EOS R adapter. So when I first found out that Sigma had plans to update its existing Sigma 50mm f/1.4 EX DG HSM, I got really excited, since I knew that the new Art-series lens would not disappoint. It has been too long since both Nikon and Canon updated their 50mm f/1.4 primes. In the case with Nikon, its newer 50mm f/1.8G yields better sharpness than the bigger and heavier 50mm f/1.4G. In short, the Nikkor 50mm f/1.4G is just not good enough for modern high-resolution sensors and its performance at maximum aperture is rather disappointing (and the Canon 50mm f/1.4 is quite similar in that regard). The Sigma 50mm f/1.4 Art announcement was very timely because it hits a sweet spot between the sub-par 50mm f/1.4 Nikon and Canon lenses, and the exotic manual focus Zeiss Otus 55mm f/1.4. Canon EOS 6D + 50mm @ 50mm, ISO 100, 1/800, f/1.6While maximizing resolution at the area in focus, this SIGMA 50mm F1.4 DG HSM Art lens for Canon offers a silky-smooth bokeh affect to the front and rear. To achieve exceptionally crisp resolution, we have minimized sagittal coma flare, chromatic aberration, and every other type of optical aberration that affects image quality. The result is minute detail without bleeding or streaking, even at wide-open aperture. Moreover, we have also minimized both vignetting and color streaking to the front and rear of the area in focus, thereby establishing a bokeh effect that is natural and aesthetically pleasing. Minimum Focusing Distance Of Just 40cm The Nikkor 58mm f1.4G is Nikon’s flagship standard lens for its DSLRs, yet it missed out on our top award in my review because its performance in the APS-C/DX and the full-frame/FX corner was a bit of a let-down for this price. As you can see in my review comparing the Sigma to this lens, the APS-C/DX corner of the Sigma is also a bit weaker than one could have hoped for but in the FX-corner the Sigma clearly prevails. The Nikon 58/1.4G generally has less loCA but compared to the Sigma suffers a bit from focus-shift and the resulting coloration plus astigmatism. Regarding coma both lenses are on the same pretty good level. The Sigma has the advantage in focus speed: 0.6 vs. 0.8 seconds. The 800 pound gorilla in the group of MF lenses is the Zeiss Otus 55mm f1.4, and I wish it cost 800 pounds! At a price of 3200 EUR / 3600 USD and over 900g weight plus a completely different optical design than other “normal” lenses it set a new benchmark in 2013 on optical performance in this group. See my Zeiss Otus 55mm f1.4 review where it earned a Highly Recommended. Zeiss also offers the manual focus Loxia 50mm f2 and the autofocus Batis 40mm f2. Performance is absolutely outstanding in terms of sharpness and clarity. Epic levels of sharpness are maintained even when shooting wide-open at f/1.4, not just in the central region of the frame but right out to the extreme edges and corners. The new DN lens easily steals a lead on the former DG edition in this respect. Autofocus performance lives up to its billing, with an excellent turn of speed and it’s virtually silent in operation. Manual focusing is very smooth and allows for very fine adjustments.