Sigma Sony E 14mm E Mount Art Lense Alternatives

Sigma has done a fairly amazing job of reinventing themselves as a visitor in the past 5 years. It tin can be easy to forget that Sigma was known as a maker of more often than not "cheap" lenses not all that long ago, and ofttimes their primary claim to fame was delivering a less expensive product than the offset parties. That perception began to slightly shift with the delivery of generally quite proficient EX 50mm f/one.4 and 85mm f/ane.4 primes, but of course really accelerated with the release of the Fine art series. A Sigma ART lens has become synonymous with optical excellence and resolution that is generally at or near the elevation of the class. And with this new success Sigma has besides proved to exist more than daring than the more bourgeois first parties. They have embraced optical designs outside the traditional scope, and have really "pushed the envelope" with what is possible in maximum aperture in both primes and zoom lenses. The Sigma 14mm f/1.8 DG HSM ART is another case in indicate. At f/1.8, the maximum aperture of the 14mm ART is larger than any competing lens, which makes information technology a very intriguing choice…but it comes at a cost.

As we progress through this review, nosotros will detect that the cost comes both on a monetary level (it isn't cheap!) and besides in its size/weight (largest and heaviest in the grade). To the first betoken: the Sigma Fine art series was, initially, all priced effectually the $799-999 mark in the US marketplace. Sigma seemed to studiously avoid breaching the thousand dollar price point until last yr. Since that indicate nosotros have seen a number of the newest ART series lenses at toll points well above the 1000 dollar mark, including the 50-100mm f/1.eight ART zoom ($1199), 85mm f/one.4 Fine art ($1199), 24-70mm f/ii.8 Bone Art ($1299), 135mm f/1.8 ART ($1399), 12-24mm f/4 ART ($1599), and this lens, the 14mm ART, at $1599 USD. Suffice it to say that this particular "glass ceiling" has been shattered, and the 14mm Art is tied with the 12-24mm as the near expensive options in the ART series. I've reviewed all of these lenses, and they are splendid lenses, but I recall it is safe to say that the idea of Sigma lenses every bit "bargains" is by.

The 14mm focal length has a huge range of price points. There is the Samyang/Rokinon 14mm f/2.8, which tin often be had for effectually $300. There is the Canon EF 14mm f/2.8L II, which is typically north of $2000, and a host of other options in between. I reviewed the excellent Rokinon SP 14mm f/two.4 earlier this twelvemonth, which retails for effectually $thousand (merely is manual focus). My point is that this lens must compete on merit, every bit the cost, while cheaper than the most expensive option (Catechism), is more than 5x as expensive as the least expensive option.

There are counterarguments to make for the Sigma 14mm ART, however, including the fact that it offers a larger maximum aperture than all alternatives (i 1/3^rd terminate faster than most, and 2/3^rdsstop faster than the Rokinon XP and its f/2.4 max aperture). It has autofocus (several alternatives don't), and information technology is now weathersealed (the Samyang/Rokinon options do not). Information technology does offering something unique when compared to alternatives, but it is also a adequately expensive lens that volition make potential buyers consider the alternatives before placing their gild.

But is it worth the money? Read to help brand that determination for yourself.

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Build and Blueprint

The 2nd place that you will "pay" for this lens is in the weight, which is easily at the top of its grade. It weighs ii.57lb (1170g), which makes it heavier fifty-fifty than the Sigma 12-24mm f/iv ART zoom lens I reviewed. The only wide bending pick that is heavier is the unique Catechism eleven-24mm f/4L lens, and it is only a measly 10g heavier (though it's also $1000+ more expensive). Information technology has a very large glass front element and is quite front heavy. I tried to mountain it (paired with a Canon 5D Mark IV) on my Moza Air motorized gimbal for some video, and institute that it was nearly incommunicable to residuum due to the odd weight distribution. Pushing the envelope of maximum aperture in this lens comes at the cost of some serious weight.

Then over again, the ART series has never been known for beingness low-cal, and this lens will do naught to opposite that trend! It isn't small, either, with a bore of 3.76" (95.4mm) and a length of nearly 5" (126mm). The lens is fairly narrow at the mount but significantly flares out about halfway downward the length to business firm the extremely big curved front element.

The build is extremely familiar, equally I have reviewed the majority of the ART series lenses. Information technology is a mixture of metal and "thermal composite" (engineered plastics) based on a brass bayonet mount. The tactile impression is more metallic than plastic, which feels reinforced by the significant heft of the lens. The lens contour is extremely similar to that of the 12-24mm f/4, with the one exception that there is one less ring on the fourteen Fine art (no zoom ring). That lone ring (the manual focus ring) is built into the broad front section of the lens which flows right into the fixed (permanent) lens hood. This is unusual compared to most lenses, only very similar in blueprint to the 12-24 Fine art. The manual focus band moves nicely and has a overnice, grippy rubberized texture to information technology.

Sigma's Global Vision design linguistic communication has aged well, and the lens is very modernistic and sleek in a squat, rounded kind of way. It mixes various textures and finishes to go along from being too "monochromatic". There is i switch on the barrel, an AF/MF switch to allow yous to go to manual focus (though total fourth dimension manual override is bachelor through Sigma's HSM focus motor). In that location is a distance window with some hyperfocal markings as well.

The lens notes that information technology was made in Japan too every bit the year of manufacturing (2017). The lens (like other Art series lenses) has a 9-rounded blade discontinuity iris. It tin can focus down to x.63" (27cm), but has an exceptionally low 0.10x magnification figure. If yous wanted a broad bending lens that could double as a macro lens, this most definitely isn't it!

Sigma has begun to contain some moisture resistance into its design, which is very welcome in a lens similar this. Information technology has a rubber gasket to aid with the seal at the bayonet mount, but Sigma'south language says "Dust and Splash-proof mount " and makes no reference to internal seals. Something is meliorate than nil, but I wouldn't button this besides much.

At the front of the lens y'all will notice a massive curved front element. The glass has some protection on four sides by a fixed petal-shaped lens hood. This is a necessary evil on near lenses 15mm or wider, only it does have a few downsides. The commencement has to do with the fixed lens hood, which requires the front end lens cap to be the large type that slips over the lens hood and is held in place by a combination of friction and suction. I've seen no issue with the cap falling off of its own accord, just I practise discover these types of caps to be a pain because they don't fit well into a pocket when you pull them off for a quick shot. Even a jacket pocket volition be full with this lens cap inside, and y'all tin forget it plumbing equipment in most pants pockets.

The second downside is that traditional spiral-in filters cannot exist used. At that place will invariably exist third party filter makers that will produce adapters for their front filter systems (I use the Fotodiox Pro WonderPana arrangement for the Tamron 15-xxx VC). The upside of these blazon systems is that graduated neutral density filters are very useful for wide angle landscape work, but the downside is that they are large, bulky, and expensive. Fortunately Sigma is working to provide an alternate solution, which comes in the form of the FHR-11 rear filter holder which will mount on the lens mount and allow you lot to use small rear glass and gel filters. It seems to but be available for the Canon mount lens and simply (at the moment) directly from Sigma (I can't find it at major retailers).

The upside is that Sigma is but charging $36 for it, but you lot will accept to screw it in yourself and provide the filters. Sigma plain feels the audition for this is pocket-size enough to non actually ship the lens with the filter holder included. There are a number of Canon wide angle lenses that accept a similar rear filter concord built in.

I have not tested this optional accessory myself, just I am happy to meet that Sigma has worked to provide some kind of solution. The lens is also uniform with Sigma's USB dock (for tweaking autofocus and other features) and is also eligible for Sigma's mountain conversion service if yous decide to "bound ship" at some point and motility from Canon to Nikon or vice versa.

The lens is only bachelor in Catechism, Nikon, and Sigma native mounts, though I did test it on a Sony trunk with a Sigma MC-11 adapter and, every bit per usual, the lens actually works quite well there. I serious perk is that Sigma lenses will piece of work in AF-C mode during video capture with the MC-xi, which is different any other adapted lenses with any of the adapters that I've used (Metabones, Vello (x2), etc…) All is not perfect, hither, and you should cheque out my comments in the Autofocus Functioning section below.

I likewise tested it with a Vello Accelerator adapter for Sony APS-C eMount, where the lens behaves similar a full frame lens in terms of framing and depth of field (the accelerator allows the maximum aperture to be f/1.four). Autofocus (for stills) continued to work fine, and the epitome quality was quite good. Here are some interior shots taken with this combination:

All in all the lens feels like a quality piece of kit. It's expensive, big, and heavy, just feels functional and well made.

Autofocus Performance

I've been relieved to see a positive trend for contempo Sigma releases in their autofocus accurateness. This has been an area of weakness for many of the Sigma Fine art lenses in that I've seen an unusual amount of focus inconsistencies in my tests and have heard an abnormally loftier amount of anecdotal reports almost focus bug from other photographers. To be fair, I do care for anecdotal reports with a grain of table salt, as there are a lot of variables at play, just the sheer volume of them let me know that the bug I saw were systemic. Last twelvemonth, still, Sigma started increasing the torque on their HSM (Hypersonic Motor) and I personally started seeing better focus accuracy. Lenses like the 85mm f/i.iv Art, 135mm f/1.4 Art, and the 12-24mm f/4 Fine art (along with the 100-400mm f/5-six.3 Contemporary) all proved better than previous Art series lenses in my testing, though with the wide discontinuity lenses I found better accuracy when using the center points on my Canon 5D Marker 4 and avoiding the outer points. So, usable focus accurateness if not exceptional.

I plant the 14mm Art needed only pocket-size focus calibration out of the box, and then specifically went out to field test focus accurateness. Now, to be off-white, a 14mm lens puts much less stress on the focus system than a 85mm or 135mm lens. At 6 anxiety, for case, even at the abnormally big maximum aperture of f/1.8, the depth of field with a 14mm lens is over 8 anxiety. At a x foot distance the depth of field jumps to nearly 57 feet. To give yous an idea of the divergence with, say, the 85mm f/i.4 Fine art, the depth of field at 6 feet and f/1.4 is merely an 1 ½ inches, or less than 4 centimeters. Fifty-fifty at ten feet that depth of field is only 4 inches or slightly under xi centimeters. The bottom line is that autofocus accuracy is less of an issue with this kind of lens, though it can still be an issue to some degree.

In my field tests I had nothing to be concerned virtually. The lens focused on what I wanted information technology to focus on, and I saw one example of front focus, but mild enough to still be adequate. And that was shooting at f/1.8; stopping the lens downwards just further eliminates the chances of missed focus.

Here are a few images and crops from these focus tests.

I've never really had an issue with Sigma lenses when information technology comes to focus speed or racket; the HSM motor focuses speedily and quietly. No concerns there.

I doubtable that a lens similar, say, the Canon 14mm f/two.8L Ii is still the ameliorate focusing lens, but frankly I doubt that it is going to make much of a difference for almost shooters due to the nature of the focal length. I certainly wouldn't exist concerned.

If you happen to exist a Sony shooter, using the MC-11 adapter produces good if mixed results (I tested on a Sony a6500). The lens focuses accurately, merely is prone to some pulsing before settling on focus. The MC-11 adapter + Sigma lenses is the simply adapter combination I've notwithstanding found that allows for video AF, but but know that the focus motor is not really optimized for this kind of behavior and tends to produce a lot of clicking during Video Servo AF (AF-C) utilize.

If you own multiple systems and want to utilize the 14mm Fine art on both systems, then get for it, simply I would recommend purchasing a defended lens for Sony Due east Mount if yous are a Sony shooter.

Sigma 14mm ART Image Quality

And now we get to the good stuff! Sigma has built a reputation with its Art series for excellent resolution, and the 14mm Fine art is correct upwards at the top of the heap, out resolving any and all competitors at this focal length. I recommend that you want this video where I break down the resolution performance.

Resolution

The sharpness begins at f/one.8, and while the extreme corners may not withal exist tack sharp at f/1.eight, a good part of the paradigm circumvolve is. Middle resolution is excellent, and, frankly, stopping the lens down will improve contrast a scrap and will increase depth of field, only resolution gains will only be minimal in the center 2/3rds of the frame. Check out these crops from beyond the frame.

There are some lenses that brand a significant bound when stopped down just a chip (even a third stop), but I didn't really notice whatever difference between f/1.viii and f/2. Stopping on down to f/2.eight gives an uptick in contrast and border performance looks better in large part to lifting vignette. There is some vignette at f/one.8, simply information technology does significantly improve by f/2.8, which means that it looks better at f/2.8 in terms of vignette) than any wide angle lens from 12-16mm that I've used. I practise think the sharpness contour extends a little further towards the edge of the frame, but it can be difficult to tell what is more resolution and what is just cleared vignette. Here'southward a expect at crops across the frame.

Starting at f/2.8 I compared the 14mm Fine art to the Tamron 15-30mm f/2.viii VC. It ends upwardly being the benchmark for a lot of wide angle lenses considering 1) I own it and 2) it is a very good lens. What I found in the comparing is the Sigma is stronger on the edges of the frame, a position it holds even with the two lenses stopped down (though that advantage shrinks somewhat at typically landscape apertures). The Tamron suffers from some lateral chromatic aberrations along the edges of the frame (both green and purple fringing) while the Sigma shows no inclination towards CA at all. In the middle portions of the frame the ii lenses look pretty similar (which is to say fantabulous). The Tamron has a flake more than micro-contrast and color saturation/accuracy, just information technology'southward not pregnant. The Sigma is delivering the more consequent epitome across the frame, and, for landscape purposes, that is significant. Hither'due south a look at the comparing between the two lenses across the frame at f/5.6.

I came away extremely impressed by the resolution from the Sigma 14mm f/1.8 ART. Not just has Sigma managed to button the envelope in what is possible in maximum aperture at 14mm; they've done it while also pushing the envelope in the resolution potential of 14mm. No 14mm (or 15mm) lens that I'm aware resolves every bit highly every bit the 14mm Art. Even at closer focus distances the sharpness is exceptional – take a look at this photo of the cat and the crop from it!

Sigma 14mm Fine art Coma Operation

Another incredibly of import metric for such a lens is the coma operation. The single biggest reason for such a wide aperture at such a wide focal length is the calorie-free gathering potential. This lens, with a maximum aperture of f/1.eight, has 1 1/three stops more than lite gathering potential than an f/two.8 lens. What does this mean in existent globe shooting? Well, for example, a shot similar this I took at f/1.viii, xv 2nd shutter speed, and ISO 1600. At ISO 1600 my 5D Mark IV isn't breaking a sweat, and so at that place isn't whatever visible noise in the prototype.

At f/2.8, however, I would have to be at ISO 4000, where there is definitely more than potential for noise. The infrequent performance of many camera bodies at higher ISO settings makes this less of an event than in times past, but information technology's e'er better to have more light gathering potential than less. The other upside is that you can continue shutter speeds upwards, which reduces the risk of movement of the stars.

Comatic aberrations are most often seen when afar points of light go deformed. Rather than being a crisp signal of lite, they will appear to "grow wings" like an insect or be shaped like a flight saucer. I've too seen star points stretch and become more similar dashes than periods. The all-time lenses for astrophotography are those that exhibit minimal amounts of blackout, and some of the better options I've used include the afore-mentioned Tamron, the Samyang XP 14mm f/2.4, and the Zeiss Distagon 15mm f/2.8. The Sigma jumps out every bit being even more potentially useful considering of the larger maximum aperture, simply does it laissez passer the coma test?

The answer is yes, and no. Compared to other Sigma options I've personally used, this is one of the better performers. It resolves very high (well-baked stars), has relatively low vignette (a huge issue for some competitors), and obviously has better low-cal transmission. But information technology does show some comatic aberrations. They are reserved mostly for the edges of the frame, but I saw a few "flying insects" there. The nature of the very broad 14mm frame means that they aren't peculiarly obvious to almost eyes (each star signal is pretty small in the frame), only those of y'all for whom this is an issue you volition probably find it. I've seen much worse than the 14mm Art, but I've as well seen better.

For pure astro work I think the Samyang/Rokinon XP 14mm f/ii.4 might notwithstanding exist the better option, though you practise surrender 2/3rds of a terminate of light gathering compared to the Sigma (and autofocus, of form!) I recall the Sigma 14mm Art works for astro, but Sigma hasn't entirely solved the coma event in whatsoever lens of theirs that I've seen. By contrast this is something that Samyang has been good at for a while.

My opinion is that the positives outweigh the negatives hither, but I would have loved to meet just a piffling less coma from the lens. The lens has exceptional chromatic aberration control; it would have been squeamish if the comatic aberration command was every bit exceptional.

Chromatic Aberration, Distortion, and Flare Resistance

A discussion of the baloney in a wide angle lens is a little complicated, as the very nature of the focal length creates a lot of potential for perspective distortion (or the keystone effect). This is really the primary reason that tilt/shift lenses exist. Past moving the lens elements in relation to the sensor it allows one to go all of the lines directly when shooting interiors or architecture. Without that adequacy, nonetheless, you will oftentimes get a result where it seems like trees or buildings are "leaning" towards the center of the frame. You tin can reduce this result by bringing the camera up higher, for instance, just this sometimes comes at the cost of a less favorable composition.

But this is not actually baloney in a traditional sense. It is the nature of the focal length, not a flaw in the lens itself.

The actual barrel baloney of the lens is fairly minimal. It does bulge a bit in the centre, but in mild amounts and without whatever kind of circuitous design. The standard profile in Lightroom or ACR handles information technology all fairly well (meet higher up). I feel like there is a chip more distortion than Sigma's 12-24mm f/4 Art (which is quite infrequent in this area), only this is another potent performance (and a Sigma strength in my experience).

Despite that bulbous front end element the lens also does a very good job of resisting flare when the sun is in the frame. Wide open there is a minimal amount of veiling (lost of contrast) about the epicenter of the sun, simply next to no ghosting effects (blobs of colour).

Stopped downwardly to f/xi there are some very pocket-size ghosting artifacts, but they are minimal and unobtrusive. I was very pleased with this operation, as this is an area that the Tamron can struggle (more from side lighting than direct sun).

Chromatic abnormality operation is near perfect, with no visible amount of chromatic aberrations (green or purple fringing) showing upwardly in any of my field tests. This is an outstanding performance!

Color and Contrast

I noted earlier that I felt the color rendition from the lens was good but not exceptional. Frequently Zeiss lenses take a unique "look" to images that doesn't seem to need additional post processing. The Sigma 14mm ART doesn't quite fall into that category, but in that location is a good corporeality of dissimilarity, that, combined with the complete lack of chromatic aberrations, allows images to seem very well-baked. I similar the look of the images out of the lens, and, with simply a little processing, I recollect they can look infrequent. Take for example this image, shot at f/1.eight.

It's very crisp even at f/one.eight, but looks similar a little flat because I purposefully underexposed a flake to give me more highlight room in the sky. A little post processing and the paradigm becomes exceptional:

Wide Open Landscape (Sigma 14mm f/1.8 ART)

All in all you won't have a trouble producing stunning images with this lens, though if you have never composed with a lens this wide it may crave some retooling of your mental approach to composition.

Remember that you will often need a foreground chemical element to fill in space so that your image doesn't expect "empty". Here's a few landscape samples:

I recommend that you check out the Image Galleries to run across more sample images from the Sigma 14mm Fine art.

Determination

At that place are a lot of photographers who take been very excited about this lens, and my fourth dimension spent with information technology leaves me to conclude that they take good reason to be. I noted that the lens has some challenges due to its nature (it's expensive, heavy, and cannot use normal filters), but Sigma deserves some applause here for once more pulling off what no other lens maker has done. They took on the brief of creating an extremely sharp wide angle prime with a record-setting maximum aperture at this focal length and nailed information technology. The Sigma 14mm ART isn't perfect, but neither does it have any fatal flaws, either. It'due south imperfections (coma, baloney, vignette) are all so balmy as to have little true touch on on photographers, while its strengths (resolution, flare resistance, lack of chromatic aberrations) should make it appealing to those with high resolution camera systems looking for a landscape lens that can deliver exceptional results. The wide discontinuity will also appeal to some wedding and event photographers who crave more calorie-free gathering (and action stopping!) than what the average lens can provide. I do call back the cost and weight may discourage some potential buyers, merely those for whom these are non major obstacles will undoubtedly exist pleased with the Sigma 14mm f/one.viii DG HSM ART…another unique lens from Sigma in its Fine art series.

Pros:

Class leading resolution
Largest maximum discontinuity e'er at 14mm
Excellent flare resistance
Extremely good chromatic aberration control
Low levels of distortion
Effective autofocus system

Cons:

Heaviest lens in its class
Adequately expensive
Not free from blackout
Bulbous front end elements precludes use of traditional filters

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Source: https://dustinabbott.net/2017/11/sigma-14mm-f-1-8-dg-hsm-art-review/

Callinan Wastre