Autofocusįirst of all, the autofocus of the Sony Alpha 7r IV and 7r III are just fantastic. All autofocus features (including eye-tracking and AI autofocus) translate brilliantly between the camera body and optics. Well, the answer is one that I certainly hoped for: The Sigma is fluent in Sony speak!Īs one of the first ART lenses designed exclusively with mirrorless in mind, it’s communication with the popular Sony mirrorless system is key (considering the lens only comes in Sony E mount and L mount). As such, my deal breaker is whether or not the Sigma 35mm f/1.2 ART lens can speak the Alpha’s native tongue (being a non-Sony-brand lens). You don’t invest thousands of dollars on a camera like the Sony Alpha to not use those features, yes? So why would you grab a lens that isn’t compatible? You just don’t. The inclusion of the AFL button adds to the lens’s functionality as you can assign it to various operations.
SIGMA 35MM 1.2 MANUAL
This smooth and easy to use manual adjustment of the aperture is quite a useful feature (especially for those who dabble in video and cinema).Īdditionally, what’s really interesting about this lens is the ability to click/de-click the aperture ring, allowing complete silence or clicks to let you know you have turned the ring. If you’re a native Sony G-Master user who picks up the Sigma 35mm f1.2 ART lens for the first time, you’ll likely see a familiar feature – an aperture ring. It’s very reminiscent of the Canon L-series glass, which I was obsessed with, and was thrilled to find similar in the Sigma ART line. I put lenses through the wringer, and if they can’t survive me, they aren’t a worthy build!Īlso, akin to the ART line is the beautiful glass that is vibrant, sharp, clear, and perfect. I can personally attest to these, having already taken this optic out in some dire conditions. The lens features a dust and splash-proof structure with additional water and oil-repellent coating on the frontmost surface of the lens. Give it a bump, you’ll see (no, please don’t do that intentionally!). In true ART fashion, the lens is solid, sturdy, and what I’d consider shock-resistant. The weight of the Sigma 35mm f/1.2 ART lens is very worthwhile. However, the benefit of mirrorless is that all you’re carrying is the weight of the lens, which I don’t mind. The weight is a bit daunting when you use a mirrorless system, especially since one of the big selling points of mirrorless is the small size of the camera. Many people wouldn’t realize this is a wide-angle 35mm focal length. Upon first glance, this lens is large and heavy. I had the pleasure of taking this lens out for a spin on my Sony A7r IV and Sony A7r III and making all of my creamy bokeh dreams come true. Well, my friends, Sigma has come to save the day with the brand new Sigma 35mm f1.2 ART Lens for Sony E Mount! It’s the fastest autofocus lens available for Sony mirrorless cameras to date. However, Sony has found itself severely lacking in my favorite fast aperture: f/1.2. SIGMA’s Super Multi-Layer Coating reduces flare and ghosting to help photographers produce sharp and high contrast images even in back light conditions.Considering the amount of articles I’ve written about shallow depth of field, it is safe to say that anything wider than f/1.8 is my sweet spot. The 11-blade rounded diaphragm creates an attractive blur in the out-of-focus areas of the image.įrom an early stage in the lens design process, flare and ghosting have been measured to establish an optical design resistant to strong incident light sources such as back lighting. The HSM (Hyper Sonic Motor) ensures high speed and quiet AF. Its treated surfaces and enhanced strength contribute to the exceptional durability of the lens. The brass mount combines high precision with rugged construction. High-Precision, Rugged Brass Bayonet Mount. Matching the optical characteristics of the lens, this function performs in-camera corrections of peripheral illumination, chromatic aberrations, distortion, and more, to further enhance image quality. Compatible With Lens Aberration Correction.
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