Sigma 340101 35mm F1.4 DG HSM Lens for Canon, Black

Product Information

Set a new standard for optical performance at the 35mm focal that has only now been mildly surpassed 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. Again you stripped the exif data from the sample but if you were really at 1/30 that is way too slow. I mean way, way too slow. I would "guess" 1/1000 would be more where you should be. Give or take a stop or two. You need to select an aperture and ISO that lets you maintain that SS. Smaller the better, IE. f8+. There's no in-lens image stabilization, though this isn't an especially common feature on 35mm primes ( Canon and Tamron offering exceptions here). The Sigma does include comprehensive sealing against dust and moisture. In all there are 11 seals, and these protect every switch, ring, button and join between components, as well as the interface between lens mount and camera body.

Sigma’s Art collection continues to go from strength to strength and introductions to the series in the past couple of years include the 20mm f/1.4, 24mm f/1.4 and, most recently, the 50mm f/1.4 DG DN Art in Sony E and L-Mount fittings. A sublime performer 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. This review is based on my experience with the Nikon version of the Sigma 35mm f/1.4 ART lens. You can extrapolate this information for other versions, such as the Canon or Sony copies. Nothing in the article makes the mirrorless version stand out over the DSLR version, except the 30% price increase. 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.

What's in the box?

If using the Sigma 35mm f/1.4 Art for an especially critical shot, Live View focusing can be utilized to ensure your subjects remain in focus. Because Live View uses the actual data processed by the sensor to achieve focus, any issues with traditional phase-detect AF are bypassed. It may look silly when you're holding your DSLR up like a compact camera, but... the in-focus result will likely be worth the small embarrassment for fleeting moments. The F2 version is smaller and lighter, and the F1.2 version is larger and heavier, so it’s unsurprising that it would be designed with intended dimensions between the two to cater to variant priorities. The Sigma 35mm F1.4 DG HSM Art lens is a beautiful lens that is part of the highly regarded Sigma Art series of lenses. Its 35mm focal range caters to a whole host of styles of photography, but is particularly popular for wedding, portraiture and gig photography. The F1.4 aperture is not only perfect for lower light conditions but will also allow you to capture unique and creative images as well as giving you an attractive shallow depth of field in your images. It r More

When shooting groups at weddings or large flatly of food, the distortion is very minimal, when I get in close like in the picture below, there is just enough distortion to make a virtue of it without having to reach for a wide angle lens. Shooting at f/2 and above you can create beautiful images, my lens is usually sat between f/2 and f/5.6 at weddings and then f/4-f8 in the studio when shooting food. The images below f/2 are soft and dreamy, the vignetting that the lens create is perfect for weddings and certain fashion editorial projects. The Sigma 24-35mm f/2 ART is also an interesting alternative. It has a slower aperture but delivers similar image quality along with a small zoom range. I reviewed it here. It retails for a hundred dollars more.Canon has once again leapfrogged Sigma in this area, but I would say that the Canon advantage might be seen more in the microcontrast than in green or purple fringing in typical images. In this video segment I really break down resolution and overall image quality in detail: While I recognize that lenses like this are going to be used at a variety of apertures by end users, I tend to test lenses like this primarily at apertures wider than f/2.8. The reason being that it is in this zone where prime lenses really need to show their worth. The reality is that a number of modern zoom lenses are already excellent at their wide open f/2.8 aperture, so a modern prime really needs to shine at even wider apertures to justify its existence. The Sigma 35A certainly does. There is some obvious vignetting when the lens is wide open (even without the lens hood on). This isn’t unusual in a lens of this focal length. But it disappears completely around f/5.6 Again, this is something you can fix in post-production. If you’re shooting this lens on a crop-sensor camera, vignetting isn’t ever really a problem. Sunstars

I decided to go ahead and do a review of the Sigma 35mm f/1.4 ART (35A for short henceforth) that took into account the new releases from Canon and Tamron. Sigma is no longer the de facto choice, but do these new options make it any less deserving of your consideration? Build Quality and Design Jako první pevný objektiv pro zrcadlovku Canon však doporučují Canon EF 50mm f/1,8 STM => to je ideální vstup do světa objektivů a s pevným ohniskem (ačkoli podstatně levnější, tak úžasná kresba i ostrost)

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Recent owner of it, very solid and sharp. I'm not sure i like the contrast of it that much over other lenses but it's a great over all lense. 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. If you're an L-mount shooter, the Sigma 35mm F1.4 represents a very nice option for achieving a shallow depth-of-field and overall good image quality while staying on a reasonable budget. The Sigma 35mm F1.2 DG DN is also worthy of consideration, but you'll have to spend a lot more and work out your biceps for the benefits it can bring. The Xiaomi 12T Pro offers a whopping 200MP main camera, but how does this perform, and do the other cameras deliver? Joshua Waller puts it through its paces.

Photographers everywhere rave about their Sigma Art lenses.  But is the Sigma 35mm f/1.4 Art lens worth the hype?

When comparing the Sigma 35A and Canon 35L II side by side at a wide open f/1.4 aperture it is actually surprising how similar the bokeh highlights looked. The shape of the highlights is roughly the same, and while there is just a hint of additional busyness in the Sigma’s highlights, that is only detectable at 1:1 pixel level. The Canon shows a slight bit more concentric rings while the Sigma shows more of a pattern. As you move away from the center of the frame both lenses show a tendency towards lemon shapes instead of circles – a pretty common phenomenon. At identical exposure the Canon’s image is noticeable brighter, but probably no more than a quarter stop. Focus breathing is however an issue for the Sigma 35 1.4 which visibly reduces the field of view as you focus from infinity to the closest distance of around 30cm. It almost appears as if the lens is zooming-in and this can be distracting when pulling focus for video. You may also notice some barrel distortion at infinity gradually becoming pincushion at the closest distance, although enabling Distortion Compensation in the Alpha 1 menus can correct this for stills or video. It’s not alone in focus breathing issues though. The Sigma 35 f2 may not be quite as bad as the 1.4, but it’s not far off either. Above: And now for my distant landscape scene, taken with the Alpha 1 and angled as always so that details run right into the corners where the lenses struggle the most; I used the default Lens Correction settings which on the Alpha 1 has Distortion set to Off. I’m starting with the Sigma 35 1.4 at f1.4 where I had to manually focus for the best result.