...Like Nikon didn't have enough troubles already.
Sigma seems determined to become the go-to brand for top quality at a fair(er) price...its Art and Contemporary series of DSLR lenses (one of which I reviewed not long ago) has just increased by not one, not two, not three, but four new lenses.
The new focal lengths are: the Sigma 135mm ƒ/1.8 DG HSM Art; the Sigma 100–400mm ƒ/5–6.3 DG OS HSM Contemporary; the Sigma 14mm ƒ/1.8 DG HSM Art; and the Sigma 24–70mm ƒ/2.8 DG OS HSM Art. All are initially available in Nikon, Canon, and Sigma SA mounts. All are "DG" lenses that will cover full-frame (24x36mm).
The 24–70mm, because it's a workhorse lens for many photographers, is Sigma's third revision of its lens of this specification. This newest iteration is said to offer better construction and better image stabilization. Interestingly, Sigma claims it has been specifically optimized for better bokeh. Mark Mandl has provided a translation that communicates the meaning of the original Japanese text "球面収差をわずかに残すことでボケの描写にもこだわりました" from the 24–70mm's product page on Sigma's Japanese website: "The quality of the bokeh has been carefully tuned by leaving a trace amount of spherical aberration." (Thanks to Mark.)
Groundbreaker: the Sigma Art 14mm ƒ/1.8
The 135mm and 14mm primes both qualify as superfast—the 14mm in particular is claimed to be the fastest full-frame lens of its focal length ever made.
They're not on sale yet and not available for pre-order, but here's a link to more pictures and full specs at B&H.
Mike
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Featured Comments from:
Jim Richardson: "To me the blockbuster lens in the new Sigma lineup is the 14mm ƒ/1.8 Art lens. For Milky Way photography this one is really important since you are limited in exposure time by star movement. This new lens means either you can halve your ISO for lower noise or double your effective exposure for richer star field rendering. Either way (assuming it's rendering of stars out at the edge of the frame) is decent to good we should start seeing a new generation of night sky photographs, similar to what happened when the Nikon D3 and the 14–24mm ƒ/2.8 Nikkor came along."
Clearly the ART lenses have been a big hit for Sigma, and more power to 'em.
On another note, personally I don't "get" this current preoccupation (or is it an obsession?) with "superfast" lenses. I think a lot of it is fanatical internet photo forum geek-driven obsession with millimeter-levels of DOF and "bokeh". "Oh, oh, I need it 'cause I shoot EVERYTHING wide open!". Gimme a break. The vast majority of lens performance, even the outstanding ones like Sigma has been producing lately, are typically sub-optimal "wide open".
I come from the days when an f/2.8 was regarded a "fast lens" and still think so today. For example, I like f/4 lenses; some of the best lenses I've ever used had a maximum aperture of f/4. I've found them to be smaller, lighter, more compact, less expensive and often, optically superior to their f/2.8 counterparts. Need more light? Put it on a tripod for a longer expsoure. I guess I'm just too "old-school" [grin].
It's not just about lens speed or sharpness. I'll take a really well-designed lens with that can deliver accurate color, acutance, can minimize focus breathing, and focus shift and field curvature at different apertures over a super fast lens any day of the week.
[You say you don't get it, then you explain it. Sounds more like you DO get it. :-) --Mike]
Posted by: Stephen Scharf | Wednesday, 22 February 2017 at 12:31 PM
Why not with Sony E-mount?
Posted by: christer almqvist | Wednesday, 22 February 2017 at 12:43 PM
But doesn't spherical aberration sometimes make for the best bokeh ?
http://bokehtests.com/styled/index.html
I have adapted an old Astro Kino projection lens with more aberrations than I know how to describe, but it does make for lovely bokeh sometimes...
Posted by: Nigel | Wednesday, 22 February 2017 at 01:13 PM
Mike:
I've currently got the Sigma Art f2.8 trio for micro 4/3 & e mount (19, 30 & 60) and use them on a Sony A6000. As I've said before, they match the camera so well that one suspects designers from the two companies getting together over a beer and doing a bit of friendly collaboration. The lens' optical characteristics are excellent - not just 'for the price,' but excellent. Speed is not an issue for me - I rarely shoot wide open. With this combination of camera and a carefully chosen lens, then Camera Raw>Silver Efex>Epson P800 ABW mode onto Ilford Gold Fiber Silk and I am one happy guy.
Steve
Posted by: Steve G, Mendocino | Wednesday, 22 February 2017 at 01:14 PM
It will be interesting to see how it compares in performance and price with Canon's own 135mm f/2 which is half the weight and only 0.2 of a stop slower.
Posted by: Tom | Thursday, 23 February 2017 at 08:19 AM
I will be looking at 24-70. If it is as heavy as the other ART lenses, this would be a killer for me as a hiking landscapists. Equally important will be the color rendition: In my APS-C time I had Sigma 10-20, but something was different to Nikkors, and visible on prints. We shall see,
Posted by: Robert | Thursday, 23 February 2017 at 12:22 PM
That 14mm is colossal. So I suspect this will translate in sales to those who want it mainly for astrophotography, although this assumes it will perform well enough for this purpose. Personally I would have been much more interested in a great performing, small, 14mm f4.
I tend to regard these new, large, ultrafast lenses as a kind of youthful obsession (oneupmanship?) that one grows out of after about 10 years of amateur photography. They have their uses, but I believe they are not as important as many of their buyers think.
Posted by: Chris | Thursday, 23 February 2017 at 01:14 PM
I, like most people who have used it, love the Panasonic 12-35mm f/2.8 zoom. You could take the rest of my lenses away and I would still be happy. But....I would love for them to make the same zoom but as an f/4. For travel, the weight saving would be a godsend and I read often that the f/4 versions of a lot of lenses outperform their faster brethren (sistern?) I rarely shoot at f/2.8, preferring f/5.6 as optimal.
Posted by: James Weekes | Thursday, 23 February 2017 at 01:52 PM
> Interestingly, Sigma claims it has been specifically optimized
> for better bokeh, with "minimal spherical aberration."
A translation that better communicates the meaning of the original Japanese text
"球面収差をわずかに残すことでボケの描写にもこだわりました"
in the 24-70mm's product page on Sigma's Japanese web site would be e.g.
"The quality of the bokeh has been carefully tuned by leaving a trace amount of spherical aberration."
Posted by: Mark Mandl | Friday, 24 February 2017 at 03:21 AM
Yes, Sigma is on fire with it's Art series. I now have 5 of them - the last five lenses I have purchased. My latest set was the APS-C zooms. The 16-50 and 50-150 F1.8 with a constant aperture over the zoom ranges. Unreal, don't think anyone has ever done that before.
I'm a big fan and will be carefully looking at the 24-70 to possibly replace my Nikon 24-70. If Sigma keeps at this I could see my entire line of Nikon lenses being completely replaced over the next 3-5 years with Sigma Art lenses. If they produce a 15 or 16mm fisheye Art lense that would be great as Nikon still shows no signs of replacing it's 16mm FE introduced over 16 years ago if I remember correctly.
Posted by: Robert Harshman | Sunday, 26 February 2017 at 05:11 PM