Lens Reviews

When Sigma decided to extend its esteemed Contemporary line of broad-spectrum lenses to include a full-frame 100-400mm long-range telephoto zoom, they handed their optical engineers a tough assignment: come up with a really long 4x zoom that delivers outstanding imaging performance and enhanced shooting flexibility in a compact, well-balanced, lightweight package optimized for handheld shooting. In other words, they wanted a lens that would expand the long tele zoom market by appealing to travelers, nature, wildlife, and street photographers, hikers, sports shooters and others daunted by the prospect of toting and hefting a ponderous telephoto zoom lens. 

Sigma recently introduced the 105mm f/2.8 DG DN macro lens for L mount and Sony FE mount mirrorless cameras. It focuses continuously down to life-size (1:1 reproduction ratio) at the minimum focusing distance of 11.6 inches and offers considerable versatility beyond macro applications. We took a thorough look at the Sigma 105mm f/2.8 DG DN macro lens in a Sony mount for this hands-on review.

When Sigma introduced their new super-wide zoom in late 2016 I was eager to give it a try. Among their Art lens offerings, the Sigma 12-24mm f/4 DG HSM lens ($1,599, MSRP) serves as an upgrade to their 12-24mm f/4.5-5.6 (still available at an MSRP of $949) with a constant f/4 aperture; a nine-bladed diaphragm; FLD glass elements; an updated HSM (Hyper Sonic Motor) that uses 1.3x the torque for fast and smooth autofocus operation; 16 elements in 11 groups construction; and what Sigma claims is “the largest aspherical element in the industry” to minimize distortion, ghosting, and flare. The angle of view ranges from 84 to 122 degrees, with mount compatibility for Canon, Nikon, and Sigma DSLRs.

If you spend a lot of time photographing wildlife, sports, aircraft in flight (or even UFO’s) I'm sure you've longed for a lens with extreme telephoto reach. Sigma now offers a tough, quality 150-600mm f/5-6.3 DG OS HSM Sports lens that can fulfill the wishes of many nature and action shooters. In addition to the ultra long reach, the fact that the lens is a zoom makes it easy to frame the precise composition you want at a wide variety of distances from the subject—and for subjects in a variety of sizes.

Sigma’s 18-35mm f/1.8 DC HSM is part of their DC series of lenses designed for APS-C-sized sensors so the imaging circle is matched to the size of the sensor. For this assignment, I used a Canon EOS 60D with a 22.3x14.9mm sensor, producing an equivalent angle of view of a 28-56mm lens. Shooters of Nikon, Pentax, Sigma, and Sony cameras, the other mounts for which the lens is available, will achieve an angle of view equivalent to 27-52mm. Unlike other lens manufacturers, Sigma priced the different mounts the same ($799) so don’t feel you’re going to be paying a premium for your camera choice. Bucking a trend with camera manufacturers’ lenses, the Sigma 18-35mm f/1.8 DC HSM includes a lens hood at no extra charge.

When I was a cub photographer in high school, I was very proud of my Kodak Signet 40 camera. With the attached flash unit, even if I did not look like a professional, I felt like one. Later, thanks to my obsession with large aperture lenses, I moved up to a Heiland H2 Pentax camera complete with its awesome Auto Takumar 50mm f/2 lens that I carried throughout Europe and later for the local newspaper.

There’s something about a fixed focal length lens that brings the photographer out in me. It forces me to move in and back from compositions without resorting to a zoom. Yes, there are times when a zoom is most appreciated—especially the fast constant aperture zooms now available—but a prime puts me in a mindset that a zoom has yet to match.