Can I Put a Sigma 35mm F14 Art Dg on Canon 80 D
Sigma 35mm f/1.4 DG HSM Art Lens Review
The Sigma 35mm f/i.4 DG HSM Art Lens is the first upshot coming out of Sigma'due south recently announced lens lineup restructuring. This lens represents a completely new look and feel for Sigma - a very positive upgrade from a concrete perspective and a big hit from an paradigm quality perspective.
1 of the new Sigma lens aspects is the category classification of A, C or S, representing a primary intended use of Creative, Contemporary and Sports. This letter is stamped in a chrome circle on the lens barrel (visible above). A full description of these categories can exist found in the Sigma 35 f/i.four press release linked to at the cease of this review, but ... I'm non a fan of this overly-simplistic categorization structure. This lens gets an A - for Creative, only its qualities are very gimmicky. And a wide aperture and quick AF organisation make it appropriate for close distance sports likewise.
Peradventure "A" tin also represent "Activity". The above modestly-cropped action image was captured with a Sigma 35mm f/1.4 DG HSM Art Lens mounted on a Canon EOS-1D X. Settings were f/2.8, 1/1250 and ISO 650.
Of grade, a broad aperture lens is ever useful for the equally-categorized creative purposes.
This image was taken in New York City using the Sigma 35 f/1.four mounted on a Canon EOS 6D. Settings were f/ane.4, ane/100 and ISO 100.
Allow'south have a closer look at the aperture range available in the Sigma 35mm f/1.iv DG HSM Art Lens. While the following images to do non have great photographic merit, they permit me to make a few points.
The first point volition be obvious to many - that the depth of field increases significantly equally the aperture becomes narrower and f/1.4 with a close subject creates a very shallow DOF.
A second point is that the strong full frame vignetting in this lens clears significantly by stopping down the aperture to f/2.
The shallow DOF and vignetting combination at f/1.iv tin can be used to successfully isolate a subject from its busy environs.
Moving to the other stop of the discontinuity range - the narrow terminate, we discover specular highlights turning into eighteen point stars. Odd (vs. fifty-fifty) numbers of aperture blades create stars with twice as many points every bit discontinuity blades. An 8-bract aperture would create 8-indicate stars.
Know your aperture options and how/when to use them.
The 35mm focal length is great for full general purpose employ. On a full frame trunk, 35mm provides a modestly wide angle of view and the 56mm-equivalent framing on an APS-C/1.6x FOVCF sensor format DSLRs yields a normal/standard bending of view. Uses for this lens include loosely-framed portraits, architecture, mural, brusque distance/broad angle of view sports, weddings and other indoor and outdoor events (including low light venues) ... and much more. The versatility of 35mm lenses is well known by photojournalists.
Image stabilization is not featured on this lens - or any other f/i.iv lens as of review fourth dimension. While I always welcome this feature, y'all can shoot this lens handheld in very low lite weather without epitome stabilization - as long as the f/1.4 aperture is adequate for your needs.
Mural photographers looking for deep DOF volition desire a tripod when calorie-free levels drop - or when shooting with CP filters under fifty-fifty reasonable light. The just-released-at-review-time Canon EF 35mm f/2 IS USM Lens is the widest aperture image stabilized 35mm lens option correct now - and it may be a better option for narrow discontinuity, stationary bailiwick, handheld photography.
Those trying to terminate activeness in low calorie-free will find that f/i.4 rules.
The Sigma 35mm f/1.4 DG HSM Art Lens is an impressively sharp lens - with very sharp eye and mid image circumvolve results even at a wide open f/ane.4 aperture. Full frame f/1.iv peripheral image circumvolve results are still quite good, but softer than the center results. Results are slightly sharper at f/2, but the clearing vignetting is the biggest difference noticed by stopping down. Don't expect center-of-the-frame image quality to noticeably ameliorate past stopping down beyond f/2. Corners slowly improve until becoming very impressively sharp at f/v.half dozen.
Vignetting at f/one.4 is potent - with over three.5 stops of corner shading in full frame images. APS-C format sensor cameras will show a merely-noticeable 1 stop of shading in the corners. This amount of shading is normal or slightly strong in comparison to other 35mm f/1.4 lenses. Stopping down to f/2 removes nearly ane/2 of the shading and the amount of shading is halved again at f/2.8. Nigh .7 stops of corner shading remains through f/16. Again, these results are normal relative to the other available 35mm f/1.4 lenses.
The Sigma 35 f/one.4 is nigh distortion-gratuitous and shows slightly less barrel distortion than the other 35mm f/1.4 lenses I've reviewed. And considerably less than the Samyang 35mm f/1.4 Lens.
At f/1.4 through f/four, the Sigma 35 f/1.iv shows very fiddling flare even with the sun in the corner of the frame. Every bit the aperture is narrowed to f/v.vi, flare becomes credible and becomes increasingly apparent equally the discontinuity is narrowed through f/16. These results are like to comparable lenses and practise not stand for a differentiating factor for almost.
35mm f/ane.4 lenses tend to exist low in/void of CA (Chromatic Aberration) and the Sigma 35mm f/1.4 DG HSM Fine art Lens performs well in this regard. Especially notable is the lack of purple fringing common with the Canon 35mm f/1.4 L at f/1.4. Wait to come across some coma in the corners of you lot frame when using this lens. Coma causes small points of light to smear into what looks like little infinite ships
A fact established before in the review is that the Sigma 35 f/1.iv has a nine-blade circular discontinuity. An example of the 18-pointed stars this lens creates from specular highlights was shown. The 8-bladed Canon EF 35mm f/i.four L discontinuity creates viii-pointed stars. Which number of points is better is up to your preference. More important to virtually will be the quality of the out of focus blur created by these lenses.
When looking at a busy area of blurred image, these lenses do not perform dramatically different from each other. But differences are very noticeable in specular highlights. Post-obit is a prepare of 35mm bokeh (groundwork mistiness quality) comparisons. I was working on the Canon EF 35mm f/ii IS USM Lens review at the same fourth dimension equally the Sigma 35mm f/i.4 DG HSM Art Lens review, so a pair of Catechism 35mm f/two lenses are included in this comparison.
These are 100% crops from identically focused lenses. An f/four aperture was used for this comparison (wide open apertures usually deliver completely circular blurs).
To my optics, the Canon 35mm f/2 IS wins this comparing. It delivers the virtually-round and most-smooth specular highlight blurs. I'll give the Sigma 35 f/i.4 2nd place with nearly round and rather-smooth blurs.
The Samyang 35mm Lens' pinwheel-like blur designs are my least favorite. The Samyang acts every bit a slightly longer focal length lens that frames the scene tighter and enlarges the background mistiness more. That the Samyang's blur is larger does not make it a better lens in this regard.
The old Canon L and f/2 non-IS lenses practice not have rounded aperture blades. The result is that the specular highlights in stopped down discontinuity images become octagonal and pentagonal respectively - instead of circles. Octagonal is not too bad, but the 50'due south specular highlight blurs are not equally smooth every bit I would like. I don't like pentagonal at all - unless I'm doing something creatively cutsie - which is very unusual.
The above images were identically exposed with exception of the Sigma 35 that needed a i/3 stop longer exposure to produce a histogram equal to the other lenses in this comparing. The Canon 35 f/two is about 1/half dozen stop brighter in comparison, but its exposure was not adapted in this comparing.
The impressiveness of the Sigma 35mm f/1.4 DG HSM Art Lens' image quality becomes most apparent when comparison the results to the other peachy 35mm lenses. As of review time, I have not used a lens of any focal length (Canon, Nikon, Zeiss, ...) that delivered meliorate/sharper image quality at f/i.4. This comparing of course includes the too-impressive Zeiss 35mm f/1.4 Distagon T* ZE Lens and the Canon EF 35mm f/ane.iv Fifty USM Lens. The Sigma's 14 yr technology advantage over the Catechism is apparent.
Update: Several sharper f/i.iv lenses accept been introduced since the 35mm f/1.4 Art lens arrived. These lenses include the Zeiss Otus 55mm f/1.4 Lens, the Zeiss Otus 85mm f/1.four Lens and of special note, the Canon EF 35mm f/1.4L II USM Lens.
You are probably ownership an ultra-wide aperture lens to utilise it's ultra-widest aperture setting. But, stop the Canon and Zeiss downward to f/2.8 and almost of the differences disappear. The Catechism and Zeiss are similarly sharp at f/two.8 and both are fifty-fifty modestly sharper than the Sigma in the full frame peripheral area of the prototype circle (image corners).
The Samyang 35mm f/one.four U.s. UMC Lens likewise delivers comparable image quality at f/ii.eight - and over again, sharper corners. The Samyang is a considerably cheaper lens, merely minimally lacks an electronic aperture and autofocus (the Zeiss is likewise MF-merely).
The Sigma 35mm f/1.4 DG HSM Art Lens, like all of Sigma'southward all-time lenses, uses HSM (Hyper Sonic Motor) AF. Autofocusing is internal and very tranquility, making a low-cal shhhh audio with some clicks existence aural to the photographer if shooting in a tranquillity environs. Autofocusing is quick, though my perception is that the Canon EF 35mm f/1.4 L Lens focuses slightly faster when using both side-past-side.
Autofocus accuracy is of course paramount when making utilise of the great f/1.4 paradigm quality with its shallow DOF. And autofocus accurateness is where I have run into problems with and then many non-Canon (or Nikon) lenses in the past, so I was nervous about subjecting such an otherwise stellar lens to the AF testing. The adept news is that the Sigma 35mm f/one.four DG HSM Art Lens performs mostly well in this regard.
While information technology is not perfect and sometimes throws a consummate miss, I'g finding the Sigma 35 to perform close to the Catechism 35 L in AF accuracy. A somewhat consistent and quite noticeable front focus problem on both of my 5D Marker III bodies required AFMA to right. You may want to capture multiple images in situations with especially shallow DOF - which will be closer to MFD (Minimum Focus Distance). Note that the focus-and-recompose technique tin begin to fail every bit shallower DOF is achieved.
AI Servo performance is decent at f/1.4 and very good with the additional DOF delivered at f/2.eight. My keeper charge per unit was reasonable when capturing activeness with this lens.
Subjects in the Sigma 35 frame change size modestly every bit they go into and out of focus, but the prototype remains stable during focusing (subject framing changes with focusing on some lower quality lenses). FTM (Full Time Manual) focusing is available and filters do non rotate with focusing.
I mentioned the focus calibration problem. The Sigma 35mm f/1.iv DG HSM Art Lens "... is compatible with the Sigma USB dock and Optimization Pro software to adjust and fine tune focusing parameters." [Sigma USA] Sounds like a peachy idea to me - one that could prevent MANY repair tickets for Sigma - and salvage time for the lens owner. The Sigma USB Dock and software was nevertheless available for purchase at review fourth dimension, but I expect that the focus scale problem will be resolvable in the lens with this accessory (shown beneath).
The Sigma 35's nicely-sized focus band has a nice amount of resistance, just the curt 97° of rotation combined with a slight slip-stick characteristic when making very modest adjustments makes disquisitional manual focusing slightly more challenging than it needs to be. Hopefully the skid-sticking goes abroad after a suspension-in period.
The Sigma 35 f/one.iv is not going to turn any heads for its MFD (Minimum Focusing Distance) spec, just neither will the other 35mm f/1.4 lenses. The following chart lists the 35mm f/1.4 lenses at the elevation with a pick of other lenses below.
| Model | MFD | MM | |
| Canon EF 35mm f/1.4L USM Lens | xi.8" | (300mm) | 0.18x |
| Canon EF 35mm f/1.4L II USM Lens | 11.0" | (280mm) | 0.21x |
| Samyang 35mm f/1.4 US UMC Lens | 11.viii" | (300mm) | 0.18x |
| Sigma 35mm f/1.4 DG HSM Lens | eleven.eight" | (300mm) | 0.19x |
| Zeiss 35mm f/1.4 Distagon T* ZE Lens | 11.viii" | (300mm) | 0.20x |
| Canon EF 24mm f/1.4L 2 USM Lens | 9.8" | (250mm) | 0.17x |
| Catechism EF 24mm f/ii.8 IS USM Lens | 7.9" | (200mm) | 0.23x |
| Canon EF 28mm f/i.eight USM Lens | 9.8" | (250mm) | 0.18x |
| Canon EF 28mm f/two.8 IS USM Lens | 9.i" | (230mm) | 0.23x |
| Canon EF 35mm f/2 IS USM Lens | ix.4" | (240mm) | 0.24x |
| Catechism EF 40mm f/2.eight STM Lens | 11.8" | (300mm) | 0.18x |
| Canon EF 50mm f/ane.4 USM Lens | 17.vii" | (450mm) | 0.15x |
| Samyang 24mm f/1.iv US UMC Lens | 9.8" | (250mm) | |
| Sigma 30mm f/one.four EX DC HSM Lens | xv.7" | (400mm) | 0.09x |
| Sigma 50mm f/1.4 EX DG HSM Lens | 17.1" | (434mm) | 0.14x |
Sigma's EX lens line has always featured very good build quality and the changes plant in the Sigma 35mm f/1.4 DG HSM Fine art Lens are positive ones. The look and feel is very high-end - classy and solid with no play and a stock-still size (no extending parts). Especially notable is that the finish on this lens and the included hood is far superior to the former Sigma matte finish that was prone to collecting dusty fingerprints - and to peeling.
After tearing downward a 35mm f/1.four Art Lens, Roger Cicala's comment was: "I'd characterize the construction of the Sigma equally very efficient and carefully laid out" and overall, he was pleased with the internal design.
There is enough of ribbed surface provided for a sure grip. About-sigificantly ribbed is the focus ring. The deep, abrupt, tightly-spaced ribs on the Sigma 35'due south focus ring remind me of the quality feel of Zeiss lens focus rings - though the Sigma ring is rubber-coated (Zeiss is all metal). That the focus ring ribs seem to agree dust may be a downside to the looks aspect. Additional ribs are provided on half of the lens barrel and on the lens hood (makes removal and installation easier). The rear of the lens hood is rubberized for a sure grip - and a stride upwardly in quality feel and appearance.
The Sigma 35's single switch, enabling or disabling autofocus, is located within like shooting fish in a barrel reach of the left thumb. A white switch background shows when in AF mode with black showing when in MF mode.
The Sigma 35mm f/ane.four DG HSM Art Lens is a mid-sized lens with a solid feel. Lenses with a significant corporeality of glass in them (typically wide aperture lenses) tend to feel more solid due to their density, but ... this lens feels quite solid in spite of its density. Among other uses, I spent a day carrying this lens around New York City - and found it to be a very nice lens to conduct and utilize fifty-fifty for long periods of time. Hither is a size and weight nautical chart comparing first the 35mm f/1.iv lenses followed by an assortment of other lenses.
| Model | Weight | Dimensions due west/o Hood | Filter | Yr | ||
| Canon EF 35mm f/one.4L USM Lens | 20.v oz | (580g) | 3.1 x 3.4" | (79 x 86mm) | 72mm | 1998 |
| Canon EF 35mm f/1.4L II USM Lens | 26.8 oz | (760g) | 3.2 ten 4.two" | (fourscore.4 x 105.5mm) | 72mm | 2015 |
| Samyang 35mm f/1.four US UMC Lens | 23.3 oz | (660g) | iii.three x 4.4" | (83 ten 111mm) | 77mm | 2011 |
| Sigma 35mm f/1.4 DG HSM Lens | 23.v oz | (665g) | three x 3.vii" | (77 x 94mm) | 67mm | 2012 |
| Zeiss 35mm f/1.4 Distagon T* ZE Lens | 29.vii oz | (840g) | 3.1 10 4.7" | (78 x 120mm) | 72mm | 2010 |
| Catechism EF 24mm f/1.4L Ii USM Lens | 22.9 oz | (650g) | 3.3 ten iii.4" | (83.5 10 86.9mm) | 77mm | 2008 |
| Canon EF 24mm f/2.8 IS USM Lens | 9.9 oz | (280g) | ii.7 ten 2.2" | (68.four ten 55.7mm) | 58mm | 2012 |
| Canon EF 28mm f/1.8 USM Lens | x.9 oz | (310g) | 2.9 x ii.2" | (74 ten 56mm) | 58mm | 1995 |
| Canon EF 28mm f/2.eight IS USM Lens | 9.2 oz | (260g) | 2.vii x two" | (68.4 x 51.5mm) | 58mm | 2012 |
| Canon EF 35mm f/2 IS USM Lens | eleven.eight oz | (335g) | 3.ane 10 ii.v" | (77.9 x 62.6mm) | 67mm | 2012 |
| Canon EF 35mm f/two Lens | 7.iv oz | (210g) | two.6 x ane.7" | (67 10 43mm) | 52mm | 1990 |
| Catechism EF 40mm f/ii.eight STM Lens | 4.6 oz | (130g) | ii.vii x 0.9" | (68.ii x 22.8mm) | 52mm | 2012 |
| Catechism EF 50mm f/one.4 USM Lens | 10.2 oz | (290g) | 2.9 ten 2" | (74 x 51mm) | 58mm | 1993 |
| Samyang 24mm f/1.4 US UMC Lens | nineteen.4 oz | (550g) | 3.3 x three.vii" | (83 x 95mm) | 77mm | 2012 |
| Sigma 30mm f/1.4 EX DC HSM Lens | 15.2 oz | (430g) | 3 x 2.3" | (76 10 59mm) | 62mm | |
| Sigma 50mm f/1.4 EX DG HSM Lens | 18 oz | (510g) | 3.3 x 3" | (84.4 ten 76.6mm) | 77mm | 2008 |
For many more comparisons, review the complete Sigma 35mm f/1.4 DG HSM Art Lens Specifications using the site's Lens Spec tool.
Of the 35mm f/i.4 lenses, only the Zeiss is notably different in weight (heavier - you'll understand if you've handled i of these). The catechism is slightly lighter, but three oz (15g) is not likely to be a differentiator for most people - at that place are far more than important differences to consider. Like price.
The price for these 4 lenses, at review fourth dimension, ranges from $499.00 to $i,843.00 with a sizable stride in cost between each model. Starting at the summit, the Zeiss costs, past a significant amount, the well-nigh. The Canon, though costing far less than the Zeiss, still costs considerably more than than the Sigma. And, the Samyang costs considerably less than the Sigma, though I think that about people volition desire to pace up to Sigma - minimally for the AF and electronic aperture features.
Following are these four lenses side-by-side - oriented from to the lowest degree expensive to most expensive. Note that I used the shallower Sigma rear cap for the Sigma lens image - the lenses are positioned to line up with their mounts.
Positioned above from left to right in their fully retracted positions are the following lenses:
Samyang 35mm f/i.iv Usa UMC Lens
Sigma 35mm f/one.4 DG HSM Lens
Catechism EF 35mm f/i.four Fifty USM Lens
Zeiss 35mm f/1.four Distagon T* ZE Lens
The aforementioned lenses are shown below in their fully extended states with their included lens hoods in place.
The exposed metal lens mounts showing but higher up the lens caps in these images tells us that none of these lenses received weather sealing handling.
Notable is that the Sigma 35mm f/1.iv DG HSM Art Lens utilizes the smallest filter size in its course - 67mm. 67mm filters are relatively common and are not the most expensive.
The Sigma 35 ships with a prissy zippered, padded nylon instance with a chugalug loop for zipper (this is non a pro photo belt-sized loop). Like all lenses, the Sigma 35 includes front and rear caps with the front being the prissy middle-and-side-compression blazon.
The Sigma 35 f/1.4 is available in Canon (reviewed), Nikon, Pentax, Sony/Minolta and Sigma mounts. My standard disclaimer: There are potential issues with 3rd party lenses. Since Sigma reverse engineers (vs. licenses) manufacturer AF routines, there is always the possibility that a DSLR body might not support a (likely older) third party lens. Sometimes a lens can be fabricated compatible by the manufacturer, sometimes non. There is also the risk of a problem that results in the lens and body manufacturers directing arraign at each other.
I expect that the new Sigma USB dock and Optimization Pro software accessories, with their ability to update lens firmware, are designed to reduce future compatibility risks.
The reviewed Sigma 35 f/1.iv was purchased retail online.
I call back that the Sigma 35mm f/1.4 DG HSM Art Lens is my new favorite Sigma lens. Possibly the "A" plate on the barrel represents this lens' report menu grade average, showing that information technology has brains to proceed with the bully looks.
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Source: https://www.the-digital-picture.com/Reviews/Sigma-35mm-f-1.4-EX-DG-HSM-Lens-Review.aspx
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