Above: Sigma describes the design as dust and splashproof, including a rubber grommet on the mount. You’d expect weather-sealing on a high-end lens, but remember the original DSLR version of the lens was not sealed so this is an important upgrade. Do not power OFF the camera and ensure the USB cable is properly connected during the data transfer. Review notes: I reviewed retail copies of both the Canon 35L II and Sigma 35A provided to me by the great people at B&H Photo .

This is really what we are usually paying/looking for. The optical quality of the lens. I can’t talk with any authority on groups of elements and types of glass, it all means very little to me and I couldn't offer anything new to what is already out there. What I can talk about though is how it handles common situations. The Sigma 35mm F1.4 DG DN Art isn't quite as compact and lightweight as we might have expected, given that it's designed specifically for mirrorless. Compared to the original DSLR-oriented 35mm F1.4, its barrel diameter is near indistinguishable and its weight has only dropped by around 20-25 grams (0.7-0.9 ounces). As noted in the previous section, the size and weight advantage versus the mirrorless variant of Sigma's older design is rather more noticeable, however.Water-repellent, Antistatic type. Protector is developed to protect the lens surface from dirt and dust as well as scratches. It is an ideal filter for regular use as it is completely colorless so does not affect color reproduction.

The Google Pixel 6 may not be the latest Google smartphone any more, but it might still be the best value As is true with all SIGMA lenses, class-leading optics are right at the heart of the design concept of this new 35mm F1.4 DG DN | Art. Despite being significantly smaller and lighter than the existing 35mm F1.4, it displays an outstanding level of sharpness right to the edges of the frame at all apertures, as well as exceptionally smooth and attractive bokeh and remarkably well-controlled optical aberrations. Both the Sigma and the Canon 35L II will produce less busy highlights than the Tamron 35 VC when bright light sources are in the scene. Where the Tamron will win over all of these is in the amount of bokeh it can create in some situations due to being to focus much closer and having a maximum magnification figure twice that of Sigma (.40x). This lens is extremely amazing! It's sharp as hell! I just recently bought this lens 4 months ago, it focuses really fast.For testing purposes, the Sigma 40mm f/1.4 DG HSM Art was predominantly paired up with Canon’s 50-million-pixel EOS 5DS R Incredibly smooth focus ring Determining a lens’ bokeh quality is somewhat challenging because bokeh is both a subjective measure (the Helios 44-2 “swirly” bokeh is either wonderful or terrible depending on your perspective) and it is also notoriously difficult to demonstrate in a controlled test. Since its introduction there has been some debate about the bokeh quality from the Sigma. I myself have referred to it as being somewhat “clinical”, and feel that the lens tipped the scales more towards sharpness than overall drawing. The reality is that while the lens is perhaps not exceptional in this regard, it is in no way objectionable either. I’ve been using the lens side by side with the Canon 35L II over the past five weeks, and while I instinctively prefer the “look” of the images from the 35L II, the reality is that the differences are subtle at most. OK lets try to clear a few things up. The desired motion blur comes from the low shutter speed & a perfect pan. With both vehicles in motion the pan becomes more or less like shooting a still BUT as such the camera & photographer can't be in motion as in having road vibrations transfer to the photographer because he / she is leaning onto the side door or window.. Also lets be clear in that the Canon lenses with IS that go really wide DO NOT have a panning mode & for this kind of use IS may CREATE fuzzyness, but that's just a guess based on my own experiences with my 24-105 when shooting race cars with the IS on. IF you really want to do this kind of photography well you need to spend BIG money on a camera stabilizersuch as sold by Kenyon. 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.