Sigma 50mm 1: 1.4 DG A (ART) review

According provided by Sigma 50mm 1: 1.4 DG A lens (for Nikon cameras) many thanks the store ProFotoSalewhere you can find many new and used lenses for different systems, including Similar Sigma Lenses.

Sigma 50mm 1: 1.4 DG A (ART)

Sigma 50mm 1: 1.4 DG A (ART). increase.

Browse Navigation:

  1. In short
  2. History
  3. Main Specifications
  4. Assembly
  5. Focusing
  6. Image quality
  7. Sample Photos
  8. My experience
  9. All Sigma Art Series Lenses
  10. Prices
  11. Results
  12. User Comments
  13. Add your review / comment or question on the lens

In the review, I will call the Sigma 50mm 1: 1.4 DG A lens for short - Sigma 50 / 1.4 Art... This review shows the version of the lens for Nikon cameras with Nikon F mount. The Sigma 50 / 1.4 Art is also available for Canon EF / EFS mount SLRs, Sigma SA mount cameras, Sony / Konica-Minolta A mount cameras and mirrorless cameras with a mount. Sony E / FE and Leica L.

Very important: Sigma 50mm 1: 1.4 DG A should not be confused with the older model Sigma 50mm 1: 1.4 DG HSM EX.

Sigma 50mm 1: 1.4 DG A (ART)

Sigma 50mm 1: 1.4 DG A (ART)

In short

Sigma 50 / 1.4 Art is a remarkable XNUMX% aperture lens for full-frame DSLR cameras. One of the sharpest autofocus XNUMXs.

Of the obvious shortcomings - a lot of weight and price, and back / front focus on some cameras.

Sigma 50mm 1: 1.4 DG A (ART)

Sigma 50mm 1: 1.4 DG A (ART)

History

March 18 2008 lens was announced Sigma 50mm 1: 1.4 DG HSM EX... Later, its sub-version came out with a different body coating (glossy instead of Sigma velvet). The lens was produced for Canon EF, Nikon F, Sigma SA, Pentax K and Sony / Minolta A SLR cameras. 23 September 2008 an option for a 4/3 mirror system was presented. Lenses for different mounts went on sale at different times.

January 6 2014 the Sigma 50mm 1: 1.4 DG A lens was announced (from this review). The lens was originally produced for Canon EF, Nikon F, Sigma SA and Sony / Minolta A mirror mounts. Unlike the previous model, the Sigma 50mm 1: 1.4 DG A was not available for Pentax K and 4/3 mounts. February 27 2018 Sigma 50mm 1: 1.4 DG A is released for Sony E-mount (FE) mirrorless cameras. February 26 2019 The Sigma 50mm 1: 1.4 DG A version with a Leica L mount is released for Sigma, Panasonic, Leica cameras from the Leica L alliance. It's important: Sigma 50mm 1: 1.4 DG A versions for mirrorless and mirrorless mounts differ significantly in size.

Cinema lens based on Sigma 50mm 1: 1.4 DG A Sigma CINE 50mm T1.5 for PL, EF, E mounts, which was announced 7 September 2016 year.

Sigma 50mm 1: 1.4 DG A (ART)

Sigma 50mm 1: 1.4 DG A (ART)

Main technical characteristics of Sigma 50mm 1: 1.4 DG A:

Review Instance Name The lens barrel bears the following inscriptions 'Sigma 50mm 1: 1.4 DG A ø77 MADE IN JAPAN 014', the review shows the lens serial number 52528612
Basic properties
  • DG - Lens designed for DSLR cameras with full frame sensor
  • A (Art) - a line of modern Sigma lenses aimed at maximum optical quality
  • 014 (2014) - lens year marker
  • HSM (Hyper Sonic Motor) - ultrasonic focusing motor, in this case it is analogous to 'Nikon SWM'.
  • AF / MF - simple focus mode switch
  • IF (Internal Focusing) - internal focus
  • Full-Time Mannual Focus - continuous manual focus control, analog Nikon 'M / A'
  • Super Multi-layer Coating - super multicoated optics
  • ASP (Aspenherical) - aspherical elements in the optical scheme
  • SLD (Special Low Dispersion) - low dispersion elements in the optical scheme
  • USB Dock Compatibility - compatible with Dock Station for flashing and / or reprogramming (adjust focus, etc.)
  • MCS (Mount Conversion Service) - the lens supports service replacement of the mount for another system
  • TSC (Thermally Sbackgammon Composite Material) - thermally stable body material
  • Sigma A1 MTF - special quality control system
  • Lack of aperture control ring, analog 'Nikon G'
  • Bayonet hood included
  • Important: a lens from a third-party manufacturer, which imposes some restrictions on its practical use
Front Filter Diameter 77 mm
Focal length 50 mm, the EGF for Nikon DX cameras is 75 mm
Zoom ratio 1 x (this is a fixed lens)
Designed by for digital cameras Nikon FX,

There are also options for:

  • Canon EF / EFS (namely the EF lens mount)
  • Sony / Minolta A
  • Sigma SA (started production on February 19, 2014)
  • Sony E / FE
  • Leica l
  • option for filming Sigma Cine for Arri PL, Canon EF, Sony E
Number of aperture blades 9 rounded petals
Labels
  • window with a scale of focusing distance in meters and feet
  • bayonet mount mark
  • hood attachment / fixing mark
  • DOF scale, but only for F / 16
Diaphragm F / 1.4 to F / 16

The lens is deprived of the aperture control ring, control occurs through the camera menu (analog Nikon G - lens type)

MDF 0.4 m, maximum magnification ratio 1: 5.6
The weight 815 grams

According to my measurements:

  • 812 grams lens itself (Nikon F version)
  • 886 gram lens with two caps and a lens hood
Optical design 13 elements in 8 groups:

  • 1 ASP aspherical element, cast aspheric
  • 3 SLD (Special Low Dispersion, low dispersion elements)

Optical design Sigma 50mm 1: 1.4 DG AImage of optical circuit clickable

Lens hood Plastic, bayonet type, LH830-02
Manufacturer country MADE IN JAPAN (Lens made in Japan)
Production period On January 6, 2014, on February 27, 2018 a version for Sony E was released, a little later a version for Leica L
Price View on E-katalog

Sigma has a whole brood of high-aperture solutions with f / 1.4: 20, 24, 28, 35, 40, 50, 85, 105 mm. You can choose the right focal length for almost any task. If this is not enough, then there are also unique 14/1.8 и 135/1.8.

Sigma 50mm 1: 1.4 DG A (ART)

Sigma 50mm 1: 1.4 DG A (ART)

Assembly

The lens is supplied with a hood and a case. The wardrobe trunk has a belt clip, the main zippered flap with two sliders.

Assembled only in Japan. The lens is pleasant and weighty to the touch, its weight is about 800 grams. The Sigma 50 / 1.4 Art uses large 77mm filters.

Outwardly, it is a fairly large fifty dollars, similar in size to similar HD PENTAX-D FA * 1: 1.4 50mm SDM AW DFA * и Tokina Opera 50mm F1.4 FF... For the size of Sigma lenses, I have prepared small video on your Youtube channel.

The serial number of the lens is indicated on its front side, to the right of the focusing distance scale (when viewed from the mount side). It is written in small print, I suspect that over time this inscription will be erased. Usually, serial numbers are placed on the front side only for the most expensive and TOP lenses, so that large firms and service centers can quickly identify this or that instance.

The focus ring is rubberized, wide enough, the base of the focus ring is metal. The lens body is made of composite material - TSCThermally Sbackgammon Composite (Thermally Stable Composite), which is less sensitive to temperature changes than conventional polycarbonate. Such a composite avoids deformation of the case with a large change in ambient temperature. This material is used by Sigma to build its' A | ART ',' C | Contemporary 'and' S | Sport '. In addition, the lens has metal bayonet mount. Plastic thread for filters.

There is a bayonet mount mark on the body and a mark for quick installation of the hood. The lens uses a sturdy plastic hood LH830-02, which is fixed in special slots located near the front lens of the lens. The hood is large enough to have arrows labeled 'IN / OUT' to rotate in the desired direction. The hood can be installed in the opposite direction for transportation. In this position, access to the focusing ring is lost. The hood has a grooved ring that makes it easier to manipulate.

The diaphragm consists of 9 blades; at all aperture values, a fairly round aperture is obtained.

Overall build quality is at a high level.

It's important: Sigma 50 / 1.4 Art is not a protected lens, it does not even have rubber lens mount seal.

Sigma 50 / 1.4 Art supports working with usb dock, and also theoretically supports replacing one mount with another (done exclusively at Sigma service centers).

Sigma 50mm 1: 1.4 DG A (ART)

Sigma 50mm 1: 1.4 DG A (ART)

Focusing

To focus, the lens uses a special ultrasonic focusing motor 'HSM' (Hyper Sonic Motor) ring type... This is an analogue of Nikon SWM / Canon USM / Pentax SDM / Sony DDSSM motors. In this case, the Sigma 50 / 1.4 Art is similar in Nikon terms to an 'AF-S' type lens.

The lens will automatically focus on all Nikon DSLR cameraseven on amateur series models Nikon DXthat do not have a built-in focus motor: D40, D40x, D60, D3000, D3100, D3200, D3300, D3400, D3500, D5000, D5100, D5200, D5300, D5500, D5600as well as mirrorless cameras Nikon Z using the FTZ adapter.

The motor performs its work quietly during autofocus.

The lens auto focus speed is average, closer to high. Focusing speed is enough for comfortable work in most photo tasks. But still I expected a much higher focus speed, maybe the speed depends a little on the camera used and the firmware of the lens itself.

On my cameras Nikon D700, D3200, D40, D90 I didn't have any particular problems with autofocus. It is still better to fine-tune focusing with dock stations and utilities SIGMA Optimization Pro (there is support for the Russian language). In large cities, you can rent this station. There are many reviews online for front and back focus with this lens, especially for Nikon and Canon DSLRs. With Sony E and Leica L mount cameras, this is no problem.

The focus ring is rubberized and rotates approximately 90 degrees in manual focus mode. When the extreme positions are reached, the ring does not abut, but continues to rotate freely. Manual focusing is not very convenient. Focus ring rotation direction does not match with original Nikon 50 / 1.4G. In automatic focus mode, the focus ring does not rotate and you can hold the lens behind it.

It's important: the range of distances is strongly 'knocked down' from one meter to infinity, making manual focusing inconvenient and difficult.

Lens has internal focus, during focusing, the front lens remains stationary, only the rear lens group moves, the so-called rear focus system method. Optical design and focusing are designed to avoid loss of image quality at different focusing distances. Focus with floating elements is used. You can use different kinds of filters without any problems. I easily used the Sigma 50 / 1.4 Art with a 77mm polarizing filter.

The lens has a window with a focusing distance scale in meters and feet. The number of values ​​on the scale is small, the scale itself is not very useful. There are only values ​​for 0.4, 0.5, 0.7, 1, 1.5, 3 meters and an infinity mark. The DOF scale is present only for F / 16.

The minimum focusing distance is 40 cm, and the maximum zoom ratio is 1: 5.6, which is quite good for a fifty-dollar camera.

There is a lens housing focus mode switch 'AF | MF Focus' (auto focus / manual focus). Lens supports continuous manual focus control (Full-Time Manual Focus). This function only resembles native functions. Nikon 'M / A' or Nikon 'A / M'. The mode is more similar to the analog from Canon - Canon FTM, or to the 'A' mode for some Nikon DX lenses, for which it is described in detail here. In short, it is convenient to perform manual focus in the auto focus mode 'AF' (switch position on the lens) is possible only if the camera uses the focus mode 'AF-S'or' AF-A 'and only after successful automatic focusing. In focus mode 'AF-C'' camera can counteract manual focus control. Sigma 50 / 1.4 Art does not turn off auto focus when you start to rotate the focus ring manually, due to which different incidents can occur. Original Nikon lenses with function 'M / A' immediately turn off the auto focus completely and only listen to the manual control of the focus ring. But if you use the focus method with the button AF-ON (or the button programmed for this function, or the remote control), you may not feel the lack of a full mode Nikon 'M / A' or Nikon 'A / M'. This is a pretty subtle little thing that can be quickly understood only in practice.

Focus Features:

  1. Important: the quality of the Sigma 50 / 1.4 Art focus in Live View greatly depends on the camera used and the lens firmware, as well as on the system used for the lens.
  2. The Sigma 50 / 1.4 Art has a pronounced 'Focus Breathing' effect (changes in the angle of view during focusing). When focusing towards the MDF, the angle of view decreases (usually, the angle increases with lenses with internal focusing).
  3. Focus Shift (focus shift, changing focus distance due to iris)
  4. Sigma 50 / 1.4 Art does not have a hard stop (hard infinity mechanical stop) which allows you to accurately and quickly focus the lens to infinity under any external temperature conditions. For accurate aiming at infinity, you can’t just bring the focus ring to its extreme position
  5. The lens transmits the distance to the subject in the camera and is Nikon D-lens equivalent... Focus distance transmission affects metering performance, especially when using flash.
  6. Important: Sigma 50 / 1.4 Art is a third-party lens. It may happen that it will not work correctly with some cameras. Details on this issue are considered by me. here
  7. Teleconverter compatibility unknown
  8. The lens works correctly with the Nikon FT1 adapter, which allows you to mount lenses with Nikon F mount on mirrorless cameras Nikon 1 (but maybe there are features or exceptions)
  9. Unknown compatibility with Nikon FTZ adapter for Nikon Z mirrorless cameras
  10. Sigma 50 / 1.4 Art supports docking station, with which you can update the lens firmware, as well as adjust / fix the focus
Sigma 50mm 1: 1.4 DG A (ART)

Sigma 50mm 1: 1.4 DG A (ART)

Image quality

The Sigma 50 / 1.4 Art is a very sharp and contrasting lens with low distortion and very little vignetting. The only serious drawback is freezing and not the best backlit work. At f / 1.4 in the center of the frame, the picture is great.

Sharpness

  • in the center of the frame at F / 1.4 in terms of resolution, the lens is very good, with closing the aperture to F / 2.8, the sharpness slightly increases, after which it practically does not change to F / 8-F / 10
  • there is a slight drop in sharpness to the edges of the frame at F / 1.4, but even at the edges and corners of the image it shows acceptable sharpness already at F / 1.4
  • good / excellent resolution in the center of the frame on covered apertures after F / 1.8
  • good / excellent resolution in angles on covered apertures after f / 2.8

Distortion

  • very weak barrel distortion is present
  • the overall level of distortion is at a level typical for such high-quality lenses
  • the nature of distortion is unified, easily corrected in the editor

Vignetting

  • noticeable vignetting is observed only at f / 1.4 and is no more than 1 2/3 stops at the corners of the image
  • vignetting is enhanced with focus towards infinity
  • vignetting almost disappears at values ​​after f / 2.0
  • vignetting is easily fixable in the editor

Aberration

  • Yes friging (longitudinal chromatic aberration, which in the zone of blur tint contrasting elements in green or purple), which is one of the strongest disadvantages of the lens. Friging decreases significantly after F / 2.8.
  • also transverse chromatic aberration (example)
  • there is a small coma

Rest

  • the lens can catch glare in backlight (Example 1, Example 2)
  • you can get the effect of an 18-ray star
  • in many scenes, the lens can create nice bokeh

The Sigma 50 / 1.4 Art has a lens profile in popular RAW converters, which makes it easy to automatically correct some distortions.

Sigma 50 / 1.4 Art was released in early 2014, when 24 MP APS-C cameras already existed on sale D3200, D5200, D7100, and Full Frame Nikon D800 / D800a, and therefore, most likely, the lens was immediately designed to work on sensors with a high pixel density.

Sigma 50mm 1: 1.4 DG A (ART)

Sigma 50mm 1: 1.4 DG A (ART)


Sample photos on Nikon D3200

Examples on Nikon D3200 with 24MP APS-C sensor with AA filter. Examples are shown without treatment... Easily convert original RAW files with the original Nikon Capture NX-D v 1.4.6 utility. Standard Picture Control SD (with default settings, 3, 0, 0, 0, 0). The 'Auto. distortion control 'is disabled. Active D-lighting included.

Original RAW ('.NEF' 12-bit) photos can be download from this link (26 photos, 600 MB).

Examples on Canon EOS 6D

Examples of photos on Sigma 50 / 1.4 Art and Canon EOS 6D (20 MP, Ful Frame) photographer shared Ivan Losev... Much more of his work can be seen in his Instagram and in the profile on the site 35photo.


Examples on Canon EOS 5D Mark II, 600D

Sample photos on Sigma 50 / 1.4 Art and Canon EOS 5D Mark II, 600D shared photographer Grigory Malnev. Much more of his work can be seen. on his website and in the profile on the site 35photo.

My experience

I shot several events with Sigma 50 / 1.4 Art (Example 1, Example 2, Example 3, Example 4, Example 5) where the lens performed very well.

A high-quality fifty is a very important lens in the life of many photographers. The Sigma 50 / 1.4 Art is optically wonderful, perhaps its picture doesn't have any bewitching charm, but technically the lens shows very good image quality. If you are not afraid of the back / front focus of the Sigma 50 / 1.4 Art, you can safely take and work.

The Sigma 50 / 1.4 Art may even try to compete with the Carl Zeiss Otus 1.4 / 55.

Looking at pictures from the Sigma 50 / 1.4 Art, the difference between f / 1.4 and closed apertures is weak. At f / 1.4, the lens is really good!

Sigma 50 / 1.4 Art is noticeably better Nikon 50 / 1.4G, especially around the periphery of the frame. In general, I liked the Sigma 50 / 1.4 Art more than similar HD PENTAX-D FA * 1: 1.4 50mm SDM AW DFA * .

By topic I advise you to look to the section about everything 'autofocus fifty rubles for Nikon'.

Sigma 50mm 1: 1.4 DG A (ART)

Sigma 50mm 1: 1.4 DG A (ART)

All Sigma ART Lenses

The Sigma A (Sigma Art) lens range includes the following lenses:

For full-frame cameras (series DG) with mount Nikon F, Canon EF, Sigma SA:

  1. Sigma 14 mm 1: 1.8 DG | A (Art), + L, + E, + Cine
  2. Sigma 20 mm 1: 1.4 DG | A (Art), + L, + E, + Cine
  3. Sigma 24 mm 1: 1.4 DG | A (Art), + L, + E, + Cine
  4. Sigma 28 mm 1: 1.4 DG | A (Art), + L, + E, + Cine
  5. Sigma 35 mm 1: 1.4 DG | A (Art), + L, + E, + A, + Pentax, + Cine
  6. Sigma 40 mm 1: 1.4 DG | A (Art), + L, + E, + Cine
  7. Sigma 50 mm 1: 1.4 DG | A (Art), + L, + E, + A, + Cine
  8. Sigma 70 mm 1: 2.8 DG MACRO | | | A (Art), + L, + E
  9. Sigma 85 mm 1: 1.4 DG | A (Art), + L, + E, + Cine, scheme 14/12
  10. Sigma 105 mm 1: 1.4 DG | A (Art), + L, + E, + Cine
  11. Sigma 135 mm 1: 1.8 DG | A (Art), + L, + E, + Cine
  12. Sigma 12-24 mm 1: 4 DG | A (Art),
  13. Sigma 14-24 mm 1: 2.8 DG | A (Art)Scheme 16/11
  14. Sigma 24-35 mm 1: 2 DG | A (Art), + Cine
  15. Sigma 24-70 mm 1: 2.8 DG OS | A (Art)Scheme 19/14
  16. Sigma 24-105 mm 1: 4 DG OS | A (Art), + A

For full-frame mirrorless cameras (series DG DN) with Leica L mount and Sony E:

  1. Sigma 35 mm 1: 1.2 DG DN | A (Art)
  2. Sigma 85 mm 1: 1.4 DG DN | A (Art)Scheme 15/11
  3. Sigma 105 mm 1: 2.8 DG DN MACRO | A (ART)
  4. Sigma 14-24 mm 1: 2.8 DG DN | A (Art)Scheme 17/11
  5. Sigma 24-70 mm 1: 2.8 DG DN | A (Art)Scheme 19/15

For cropped SLR cameras (series DC) with mount Nikon F, Canon EF, Sigma SA:

  1. Sigma 30 mm 1: 1.4 DC | A (Art) + Pentax, + A
  2. Sigma 18-35 mm 1: 1.8 DC | A (Art) + Pentax, + A, + Cine
  3. Sigma 50-100 mm 1: 1.8 DC | A (Art) + Cine

For cropped mirrorless cameras (series DN) for Micro 4/3 and Sony E:

  1. Sigma 19 mm 1: 2.8 DN | A (Art), black / silver
  2. Sigma 30 mm 1: 2.8 DN | A (Art), black / silver
  3. Sigma 60 mm 1: 2.8 DN | A (Art), black / silver

Abbreviations:

  • +L means that there is a version of the lens adapted for working on mirrorless cameras with a Leica L mount
  • +E means that there is a version of the lens adapted to work on mirrorless cameras with Sony E mount
  • + Pentax means that there is a version of the lens with a Pentax K mount (rare)
  • +A means that there is a version of the lens with Sony A mount (rarity)
  • + Cine means that there is a version of the lens adapted for video shooting, usually the CINE versions are released simultaneously for ARRI PL, Canon EF and Sony E mounts

Additionally, you can look at all lenses SIGMA CONTEMPORARY (C) и all lenses SIGMA SPORT (S). Here here there is a short video about the rulers and markings of Sigma lenses.

Sigma 50mm 1: 1.4 DG A (ART)

Sigma 50mm 1: 1.4 DG A (ART)

Price Sigma 50 / 1.4 Art

Prices in popular Internet shops can be viewed on E-KATALOG at this link.

Results

The fifty is an important lens in the bag of many photographers. The Sigma 50 / 1.4 Art is not perfect, but overall very good. Highly recommend.

10 main advantages:

  1. The optical design uses a cast aspherical element and 3 ED elements
  2. the ability to work with the dock-station (firmware update, focus adjustment, etc.)
  3. There is a built-in HSM focusing motor (critical for owners of Nikon DX cameras from the younger line)
  4. internal focusing with rear lens group, fixed focus ring during autofocus
  5. continuous manual focus control, quiet focusing, focusing mode switch and focusing distance scale with DOF marks
  6. MDF is only 40 centimeters (better than many fifty dollars)
  7. good build quality: metal mount, sturdy TSC plastic case, durable hood included
  8. nine aperture blades
  9. good resolution already at F / 1.4, moderate level of basic optical distortion (in particular coma, vignetting, distortion)
  10. the lens belongs to the Sigma Art line with very high criteria for image quality and assembly

10 main disadvantages:

  1. a fairly high price tag ($ 950 for the Sigma 50 / 1.4 Art and, for example, $ 170 for Yongnuo 50 / 1.4NE)
  2. with this lens on some DSLR cameras there is often a back / front focus, which is best treated with the original dock
  3. focusing speed is not high (perhaps a little depends on the camera), but at the same time sufficient for comfortable work
  4. difficult manual focusing (small ring pitch, accuracy of distances in the infinity region,)
  5. continuous manual focus control does not work as convenient as the original mode Nikon 'M / A' у Nikon 50 / 1.4G
  6. focusing misses may occur frequently on some cameras (more related to Nikon and Canon systems)
  7. no rubber lens mount seal, and indeed the lens is not protected from bad environmental conditions
  8. rather large weight (800 grams with a tail for the Sigma 50 / 1.4 Art versus 280 grams for Nikon 50 / 1.4G)
  9. no built-in image stabilizer (e.g. Tamron 45 / 1.8 VC he is)
  10. significant backlit artifacts, small chromatic aberration

According provided by Sigma 50mm 1: 1.4 DG A lens (for Nikon cameras) many thanks the store ProFotoSalewhere you can find many new and used lenses for different systems, including Similar Sigma Lenses.

Comments here on the site do not require any registration. In the comments, you can ask a question on the topic, or leave your feedback, or describe your experience. For the selection of photographic equipment, I recommend E-Catalog. Many little things for the photo can be found on AliExpress.

The material was prepared by Arkady Shapoval. My Youtube channeland Radozhiva's group on Facebook и VK.

Add a comment:

 

 

Comments: 44, on the topic: Review of Sigma 50mm 1: 1.4 DG A (ART)

  • Dmitriy

    Nice review, thanks. I had such a lens. In my opinion, its only worthiness is its sharpness. There is nothing else good about him. Subjectively, the picture with him turns out to be somehow not alive, or something, the bokeh is not interesting, the colors seem to not distort, but still something is not right, maybe I am biased. The autofoux problem took place, it was corrected by setting in the service.
    You can buy it on the secondary for $ 500.
    It's hard to find a good fifty on Canon, especially autofocus.
    At one time I bought Zeiss, first a milvus, then a planar. And you know by the ratio of comfort, price, picture quality - the planar seems to me very good, although it does not have 1,4 sharpness. But is she really needed there? The Milvus has a sharpness of 1,4, though worse than sigma, but not much, otherwise a great lens, but no autofocus and heavy.

    • Pokemon

      “In my opinion, its only merit is its sharpness. There is nothing else good about him. "
      The past Sigma is more praised for artistry - 50 / 1.4 EX DG.
      Many chose it instead of Canon 50 / 1.8 and Canon 50 / 1.4, and I read a couple of reviews that people liked it even more than 50 / 1.2L (!) And at least one person sold 50 / 1.2L and bought this Sigma again and now happy.

      • Pokemon

        50 / 1.4 EX DG for Canon in good condition are still not very cheap on the secondary.
        Sometimes even more expensive than the Sigma 24-70 / 2.8 EX DG Macro.

  • Vladimir

    fairly high price tag ($ 950 for the Sigma 50 / 1.4 Art and, for example, $ 170 for the Yongnuo 50 / 1.4NE)

    You know, it's not even funny, to compare such lenses ...

    • Arkady Shapoval

      I indicated only the price tag for modern autofocus 50 / 1.4 from two third-party manufacturers, no one compares them directly

      • "Joe"

        It's not a price tag, it's a lens price. A price tag is a label indicating the price of an item.

  • Rodion

    If you look at modern high-end 50 / 1.4 lenses (this sigma, Milvus and Otus, for example), they all have a similar layout: in fact, it is a combination of a telephoto f / 1.4 lens (~ 85 mm) with a wide-angle attachment. Therefore, in the rear half of the lens it is easy to distinguish the characteristic planar-like silhouette, and the front lens group resembles a component of wide-angle optics. In a word, modern top-end 50 / 1.x is already much closer ideologically to high-aperture widths than to previous generations of high-aperture fifty dollars.
    By the way, the full-frame Zenitar 50 / 1.2, which had absolutely indecent dimensions, which did not reach the consumer, was precisely this in terms of the design of the optics. At the same time, the no less mythical Zenitar 85 / 1.2 had a length of about half the length with approximately the same diameter, which confirms the hypothesis.

    • Vladimir

      Good afternoon, very interesting opinion. The first thought in my head is nikkor 14-24 in size with an even wider attachment. Of course I did not look, maybe there is also a Planar silhouette there?

  • Eugene o

    I opened the photos and nearly cut myself. Sharpness, as they say, is ringing, like many modern sigma. I wonder how it compares to 1.8S under Z-mount.

  • Yuri Molchanov

    I bought this lens in summer 2014 and still use it.
    Therefore, for me, the main advantages are:
    1) Reliability. He never failed at temperatures below zero. Focused also quickly.
    The Sigma 24-105 froze under the same conditions and had to be manually pushed. Survived slanting rain twice and dried quickly thereafter. In the same rain, Canon 100-400 II, all the same “fogged up”, but it was not easy to dry it because of the rubber seals.
    2) Very good sharpness
    3) Price (OTUS is even three times more expensive)
    4) Predictable blur in the unsharp area. I often use Helios 40-2 and 44M6, but their “artistry” is sometimes completely out of place, and this is noticeable only when you look at a photo at home on the monitor.
    5) Good weight distribution in conjunction with Canon 5D. Easy to remove with one hand. Hanging on a rock and shaking hands is a plus.

    Of the shortcomings, this is primarily -
    1) Freezing. Enrages. Especially when the snow is all around. For this price, and not fixing such a flaw is no good.
    2) I would like a stabilizer. Canon even put a stub in the 85-ku. Tamron at 45.

    However, this is one of my favorite lenses that I will never sell.

    • Eugen

      The mention of Otus is somehow completely useless.

      • Yuri Molchanov

        At one time Evtifeev (evtifeev.com) blew him to smithereens, comparing it with Otus.
        And this is a popular blogger. Therefore, I mentioned it.

        • Arkady Shapoval

          whom did you smash?

          • Yuri Molchanov

            Sigma 50 Art. The conclusion that can be drawn from his review is that Otus is better in all respects and if you need fifty dollars, then it is better to save up on zeiss otus than to buy Sigma. I do not agree with his opinion, but his meticulousness in conducting tests deserves respect.

            • Arkady Shapoval

              He had Sigma 85 / 1.4 ART vs Otus 85 / 1.4, but about fifty dollars - it seems it was not, if I'm wrong - please tell me a link.

              • Yuri Molchanov

                Mistake! Sorry! I have both lenses, and I accidentally transferred the 85-ki test by fifty dollars.

          • Yuri Molchanov

            I apologize to everyone for being misled. Evtifeev tested Sigma Art 85.
            I have both, so I introduced confusion.

  • Jankowsky

    Arkady, when will there be a review of 50-100 \ 1.8 and 60-600?

    • Arkady Shapoval

      as soon as I bring it to mind, there are not enough examples for 50-100, I have not yet started 60-600, 80-400 is busy

      • Andrew Ch.

        Here's another review of Tamron SP 35 / 1,4 Di USD ...)

  • Jury

    “The Sigma 50 / 1.4 Art was released in early 2014, when the Nikon D24 800 MP APS-C cameras were already on sale… ..”

    • Arkady Shapoval

      Fixed

  • Vladimir

    Arkady, good afternoon. I would like to hear your comments about the design of this lens, for example, someone Yannisk Khong claims that sigma art lenses do not have micro-contrast and therefore their drawing does not look three-dimensional.
    It would be interesting to see an article on this topic on jojo.
    https://yannickkhong.com/blog/2016/2/8/micro-contrast-the-biggest-optical-luxury-of-the-world
    I have both art and regular sigmopolitan, and was 24-105 for a while. I have controversial impressions of 50 art, sometimes I really like the shots from it, but portraits often look flat. Perhaps I am using it incorrectly or incorrect handling.

    • Yuri Molchanov

      It seems to me that the sensor and the camera are responsible for micro contrast.
      I once compared a photo of the same subject, shot with my Canon 5D Mark III and Leica, with a fixed lens (actually a mill). And I was stunned by Laika's micro contrast! That's what they charge for!

      • Yuri Molchanov

        T9 made fun of the text, but I hope the meaning is clear.

        • Michael

          "Laika" in transcription is even closer to the original than "Leica")))

          • Pokemon

            Quote: The name Leica is derived from the first three letters of his surname (Leitz) and the first two of the word camera: lei-ca.

            • Ivan

              Dmitri, in German Leitz is pronounced "Leits".

          • Yuri Molchanov

            It's right. Senheiser, Warfsteiner, etc.

      • Vladimir

        Yuri, you may be right, https://yannickkhong.com/blog/2015/11/12/depth-vs-flat-lens-quick-comparison Here he made a comparison, but on the same camera with different lenses.
        In fact, I would not have discerned even a smaller part of those differences, my perception is at the “like / dislike” level, however, this article and the one I referred to above give me the opportunity to understand what exactly I like and what not.
        It would be interesting to read a Russian-language article about this.

        • Trueash

          Interesting, thanks for the link. In fact, Ken Wheeler (“The Angry Photographer”) says the same: “Judging a lens for sharpness is like judging a wine for its alcohol content.” Well, yes, "glass is evil." Incidentally, he doesn’t care about Sigma.

          • Yuri Molchanov

            I apologize to everyone for being misled. Evtifeev tested Sigma Art 85.
            I have both, so I introduced confusion.

            • Arkady Shapoval

              Everything is OK :)

          • Maksim

            What a fool this Ken. It's funny. Sharpness, in contrast to the bokeh-figure, is still an objective parameter of the lens. But what to expect from the “photo artist”. He sees and thinks so.

            • Vladimir

              Maxim, do not be lazy, read some of the articles that I indicated above, it is really interesting there. Perhaps you will discover other qualities of a lens besides sharpness. It’s not about little buns.

            • Ivan

              Yes, and "fool" through "o" is written.

            • Trueash

              The alcohol content is also an objective parameter. Ken, by the way, is never an artist. As far as I understand, he earns by commercial filming. Before that, he had been repairing photographic equipment for many years. By the way, he has over 600 lenses in his collection, so he knows what he's talking about.

              • koba

                let us also recall what Bresson called harshness a “philistine prejudice”. Of course, this does not mean that the lens should not be sharp, on the contrary, it should be sharp enough so that we can see everything that is presented in the photograph, but in addition to sharpness, there are also other parameters that can give certain emotional results when photographing one and the same scene. Making fun of the concept of bokeh is dangerous, as bad bokeh can ruin a certain part of your photos. The same Bresson, in addition to his 50mm Elmar (with whom he usually took pictures with closed apertures), always carried a Zeiss 50 / 1.5 with him (and until the 50s it was his main working lens, since Leica had not yet produced optically good enough lenses) for photographing in twilight as well as parts of portraits. In all of Bresson's photographs, we see excellent gradations (I saw the original prints) and normal sharpness, and sometimes even sub-normal sharpness, but this does not affect the photographs in the least. Modern lenses are almost always excellent in terms of sharpness, so additional requirements are imposed on them by photographers. By the way, starting from the 60s, Lake's company gave Bresson almost everything it produced, and he had new cameras up to the M6 ​​and many lenses lying on the shelves, but he continued to shoot with the old Elmar and Zummicron, I wonder why?

        • Yuri Molchanov

          Go to evtifeev.com, where he did a detailed comparison of Sigma with Zeis Otus.
          In fact, the same arguments, but in Russian.

    • alexander.r

      Yanniсk Khong is just a blogger. The pictures that he cited in the articles - where were the lenses compared in the same conditions? Where are the raves? And how is the comparison measured? Q: I thought the multi-lens design was flat?

  • Eugen

    It would be interesting to compare with Milvus.

  • Inna

    Update from the future 2020. On Canon mirrorless cameras, autofocus works perfectly, as does vignetting correction. But I still don't like Sigma Art's dimensions, color rendition and bokeh.

  • Sergei

    I read it with interest. It caught my eye that in the History section the subject is called “Sigma 50mm 1: 1.4 DC A” ... Moreover, repeatedly. He is DG. DC - lenses for crop cameras.

    • Arkady Shapoval

      Fixed

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