14mm F18 Dg Hsm Art Lens for Canon Ef
Sigma 14mm f/1.8 DG HSM Art Lens Review
Sigma has been breaking ground with many lenses in their Art series and the review-fourth dimension-latest groundbreaker is this one, the Sigma 14mm f/1.eight Fine art Lens. The big deal this time? While there are numerous lenses covering the 14mm focal length available, no full frame lens wider than 20mm (another Art lens) has an aperture this wide. Astrophotographers everywhere were drooling the day this lens was announced. The promise of the high-grade optical and build quality of a Sigma Art lens combined with an ultra-broad angle focal length'south ability to accept in a great amount of the sky while keeping both the stars and an included foreground sharp in addition to the especially-needed widest-ever aperture were exactly what they have been longing for.
While non anybody is interested in the astrophotography capabilities of this lens, everyone will similar the features that brand it a corking lens for night sky photography. One of these features is the wide bending focal length, one able to keep both near and distant subjects in focus even at an ultra-broad discontinuity. That a lens has an ultra-wide discontinuity is non enough – information technology must deliver excellent image quality at that broad aperture and this one completely, impressively fills in that check box. The balance of the feature fix seals the deal: great build quality, great looks, great features and, for the specs of this lens, I recall it has a worthy price.
Focal Length
A primary reason to want this lens is because information technology has a 14mm focal length, and the focal length will largely determine the types of photography this lens is used for. The ultra-wide 114° bending of view presented past the 14mm focal length is both very useful and extremely fun to use.
As already alluded to, this lens is an splendid pick for photographing the night sky. The 14mm angle of view takes in a big portion of the sky and, with a correspondingly-deep depth of field, it is easy to keep both stars and foreground subjects in abrupt focus, even at f/1.8. The wide angle of view creates rather minor stars, but with the low magnification, the earth'south rotation does not cause them to become blurred in images captured at longer exposures, meaning that lower, less-noisy ISO settings tin be used.
I couldn't wait to innovate this lens to a clear, dark sky and did so at the starting time chance I got. And, with each darker, clearer night sky, I went dorsum out. My married woman surely idea I was avoiding her, but ... the Perseid meteor shower was taking identify and ... the more images I captured, the more than shooting star streaks I obtained.
I should warn you lot, photographing the night heaven is very addicting and for all good reasons. If you lot are not already addicted, you need to try this. Find a nighttime sky on a night night and exist there with this lens.
Photographing architecture is some other pop use for a 14mm lens. Buildings are big and working infinite is often limited by other buildings, trees, power lines, etc., making an ultra-broad angle focal length such equally 14mm a requirement for the task. Think that technical architecture photography often requires a level camera (or a tilt/shift lens) to keep vertical lines from converging. It is ofttimes hard to gain a mid-building height vantage point for such photography, but an ultra-wide angle lens volition oftentimes allow the entire building(s) to be included in a basis-level image captured with a level (both tilt and roll) camera. Whatever unwanted foreground can simply be cropped away.
Interior photography is another scenario where working space is often limited and a broad angle of view is needed to capture the entire infinite. A benefit from using an ultra-broad bending focal length for both interior and exterior real estate photography is that the angle of view makes spaces appear larger and larger is typically desired in this field.
One of the most-common uses of 14mm is in landscape photography. The outdoor globe is full of broad angle scenes awaiting your shutter release behind a 14mm lens. Broad angles are especially practiced for making foreground landscape subjects appear large in relation to groundwork subjects (due to perspective) while enabling the inclusion of a vast groundwork both in the frame and in-focus. When out and about, look for interesting subjects with interesting backgrounds. Then move in shut for the ultimate image, providing the viewer a strong sense of presence in the prototype.
Nightscapes are of course included in the 14mm capabilities, but I'll also add together cityscapes to the list.
I wanted to make this art sculpture, located in front end of the Maryland Scientific discipline Center, large in the frame with Baltimore'southward Inner Harbor and a colorful heaven at dusk forming the background. This focal length worked excellently for that task.
Creating a multi-shot panorama is a common technique used for photographing landscapes. Panorama image capture permits a wider overall angle of view to exist recorded than a lens is otherwise capable of. Very wide angle focal lengths can capture a big scene in one frame and tin can provide a panorama wait (wide aspect ratio) by simply cropping the acme and bottom from a unmarried image capture. While the multi-prototype pano tin create an even college resolution concluding image, that resolution may not be needed with today's ultra-high resolution cameras and cropping is much easier than stitching.
Try directing this lens straight upwards while in a forest. Lay on your back amidst interesting tall copse for an easy-to-capture limerick that, with each tree trunk becoming a leading line into your frame, looks smashing.
While because this lens for landscape photography use, it must be understood that the 14mm Art lens' beautiful convex front lens element precludes the use of standard threaded front filters, namely the circular polarizer and neutral density filters commonly used for landscape photography. Companies such as Fotodiox design filter solutions for these types of lenses, but the filter holder and the filters themselves are quite big. It should also exist noted that a slip-in rear gel filter holder, useful for belongings neutral density gel filters, is not provided. Update: Sigma has announced that the Rear Filter Holder FHR-eleven tin be optionally installed on this lens either by yourself or by Sigma (for a service fee). Regardless, there remains a lot of landscape photography to exist done without filters.
A 14mm lens tin be a good option for going underwater, allowing fifty-fifty larger subjects to be framed from close distances that avoid h2o clarity problems. While I would take prefered the opportunity to be in the h2o while photographing under the surface level, I opted for the adjacent-all-time (and much less expensive) alternative: the National Aquarium in Baltimore.
Note that the ultra-wide angle of view through thick, flat acrylic aquarium walls ways that calorie-free reaching the photographic camera from hard angles is unevenly diffracted, causing strong mistiness in the frame borders. So, employ this illustration for true underwater photography purposes where an underwater housing dome will properly transmit low-cal with completely abrupt results obtained.
The 14mm focal length, peculiarly with the interesting perspective it provides, tin capture creative imagery. Take advantage of perspective distortion by moving in close to brand something appear huge in relation to its surround. For example, hold the small fish you defenseless close to the camera to arrive appear huge, backing up your "big fish" story. Use circumspection when including people in the 14mm frame as the just-referenced perspective distortion may not exist appreciated for portraiture.
Not but does Mikayla's face bear witness perspective distortion at this shut distance (meet the differently-sized optics?), the close camera-to-face up distance acquired her to distort her own confront due to the uncomfortable lens proximaty. Incidently, this image was captured at well-nigh minimum focus distance with f/one.8 selected. Thus, it shows both the maximum magnification and the maximum background blur this lens can produce.
Back up and a 14mm lens can be a corking choice for portraiture. In the following example, we run across the interior of the eating place where Mikayla and I ended our daddy-daughter twenty-four hour period in Baltimore.
Mikayla is obviously the focus of the image, but the groundwork tells the story. Here is some other case of an environmental portrait.
When y'all need to back up farther, but just can't, 14mm might be the correct choice.
Considerations must be fabricated when using a 14mm focal length with wink every bit virtually do not natively embrace an angle of view this wide. A diffuser (either built in or accessory) or bounciness wink (or like) will be required to avoid a partially-lit scene.
To see how 14mm fits into the neighboring focal lengths, I'll infringe a comparison example from the Canon EF xi-24mm f/4L USM Lens review.
The Sigma 14mm f/1.eight Art Lens is a full frame lens and though the above discussion focuses on this lens being used on a full frame photographic camera, information technology also has groovy uses on smaller-sensor APS-C (i.5x/1.6x FOVCF) cameras. With their smaller imaging sensor size using just the eye portion of the paradigm circle, APS-C cameras provide a narrower bending of view, similar to that of a 22mm lens on a full frame torso. While the 22mm-like angle of view is considerably less extreme (falling between the 20mm and 24mm examples above), many of the uses are the aforementioned. Even with far more APS-C options available to cover the 14mm focal length, none offering the highly-desireable f/1.eight max aperture of this lens.
Max Aperture
At review time, the max discontinuity in the Sigma 14mm f/1.8 Art Lens is two/3 of a stop wider/faster than the widest total frame alternative, the Irix 15mm f/2.4 Blackstone Lens.
What is the broad discontinuity good for? Stopping action, that of either a subject area in motion or a camera being handheld, in depression light is an particularly not bad benefit of this feature. At the low magnification of the 14mm focal length, many photographers tin go away with an f/2.8 or f/4 max aperture lens for much/most of their work. However, in that location are many scenarios where f/1.viii tin make a big difference, especially in the ISO setting needed to achieve the same image brightness.
I already mentioned the night sky scenario where the world's rotation becomes fast action relative to the dim-ness of the night sky. Low light events, especially weddings, are another great use of f/one.eight. Being able to reduce the ISO setting to ane 1/iii stop lower than when using an f/2.viii lens can mean ISO 2500 instead of ISO 6400, with a noise level difference being very noticeable.
Not immediately obvious to anybody is that when a lens can exist stopped downwardly to match the widest aperture of a slower lens, the wider lens usually has less vignetting and this departure tin can exist huge (most three stops in that example).
A highly valued wide aperture do good is the ability to create a stiff background blur. While broad angle lenses exercise non magnify the background enough to blur its subjects across recognition, it can create enough separation from a close subject area to get in stand out amidst a distracting groundwork. Use the images of Mikayla at the eatery (above) for an example of this.
A broad aperture means a bright viewfinder, which is particularly helpful in low lite, and a wide aperture can assist in a camera's low light focusing capabilities/precision.
The downsides to a wide aperture, primarily because of the larger lens elements required, include larger physical size and a higher cost tag.
As well note that, especially nether full sun conditions, a ane/8000 shutter speed may be but marginally fast enough to avoid diddled highlights at f/1.8. Cameras with shutter speeds express to 1/4000 may need the assistance of a neutral density filter to keep images dark enough at f/i.viii (as previously noted, a third-party solution or installation of the rear filter holder would be required for ND use). Shooting with a narrower aperture of course remains an piece of cake culling, just the background blur volition exist reduced accordingly.
Image Quality
Prototype quality always matters highly and with the wide discontinuity being such a prominent feature of this lens, "How sharp is the Sigma 14mm f/1.8 Art Lens wide open?" was the large question many of usa wanted answered starting time. And, the lab-examination results immediately produced a "Wow!" respond to that one.
Wide open up at f/1.eight, this lens is very precipitous in the center of the frame. At f/2, a slight increment in contrast and resolution is seen and some other slight increase of the aforementioned at f/2.8 brings on the definition of "extremely abrupt".
Taking the testing outdoors, we next wait at a pair of centre-of-the-frame 100% resolution crop examples. These images were captured using an ultra-high resolution Canon EOS 5Ds R with RAW files candy in Canon Digital Photo Professional person using the Standard Moving picture Manner and sharpness set to but "1" (0-10 scale).
As is so often the case, the outdoor results match our lab tests with sharpness being quite good at f/ane.8 (even with only very light sharpening) and improving slightly at the two next total-discontinuity stops. I didn't include or talk almost f/iv results considering ... the f/2.eight results are amazing and you will not probable find any difference at f/4.
An ultra-broad bending lens with an ultra-wide aperture immediately draws expectations for soft corner-of-the-frame performance, at least at the widest apertures. Only, I am happy to inform you that isn't the instance with the 14mm Art lens. While improvement is seen past stopping down through f/4, corner performance fifty-fifty broad open is nonetheless good. Here are 2 sets of examples showing 100% crops taken from the absolute corner of 5Ds R images captured and processed the aforementioned as the above examples. You are looking at the bottom-left corner first, followed by samples from the lesser-right corner.
Landscape photographer especially will beloved these corners. There was no reason to show you lot f/5.6 examples every bit the f/4 corners are extremely good.
I saw no discernable difference between any of the four corners to indicate an alignment issue and focus shift is similarly not an effect.
A wide angle lens with a widest-e'er discontinuity is going to show worst-e'er peripheral shading, correct? Incorrect. While the merely-over-3 stops of vignetting at f/1.viii is noticeable in total frame corners, this amount is similar to or better than the best of this lens' peers at f/2.4 or f/2.viii. Finish this lens down but 1/3 stop to f/2 and nearly a cease of the corner shading goes abroad and at f/two.eight, simply about 1.v stops remains. At f/5.half dozen, but under 1 stop (the corporeality often used as the boundary for visibility) remains and this corporeality continues throughout the remainder of the narrower apertures.
APS-C-format camera owners will come across around 1 stop in the f/1.8 corners and practically none at the narrower options.
As I have repeated many times, if lens elements refracted all visible wavelengths of light identically, a lens designer's chore would exist a lot easier. Because they do not, we go aberrations caused by various wavelengths of light being magnified and focused differently.
Lateral (or transverse) CA (Chromatic Aberration) is an imperfection I readily find. This shows every bit unlike colors of the spectrum being magnified differently with the mid and especially the periphery of the image circle showing color fringing along lines of stiff dissimilarity running tangential (meridional, correct angles to radii), where the greatest difference in the magnification of wavelengths exists. While lateral CA is usually hands corrected with software (oft in the camera) by radially shifting the colors to coincide, it is of form better to not have it in the start place. And, since this lens volition be used mostly on not-Sigma brand cameras, information technology is extremely unlikely that camera manufacturers will load the required lens correction profile in their cameras. That means lateral CA correction is not available for JPG format prototype capture and that this CA will be recorded in videos.
Let'south look at a worst-example example (100% crop from an extreme corner of an ultra-high resolution 5Ds R frame). This is the top left corner.
There should exist only black and white colors in the paradigm above with additional colors revealing lateral CA. The good news is that there is very footling lateral CA showing here and an especially low amount for a lens with a focal length this wide.
A relatively common lens abnormality is axial (longitudinal, bokeh) CA, which causes not-coinciding focal planes of the various wavelengths of calorie-free, or more simply, different colors of calorie-free are focused to different depths. Spherical aberration along with spherochromatism, or a change in the amount of spherical aberration with respect to color (looks quite similar to axial chromatic aberration, simply is hazier) are other common lens aberrations to look for. Axial CA remains at least somewhat persistent when stopping downward with the color misalignment result increasing with defocusing while the spherical aberration color halo shows little size change every bit the lens is defocused and stopping downwardly one to two stops more often than not removes this abnormality.
In the existent world, lens defects practice not be in isolation with spherical aberration and spherochromatism by and large found, at least to some degree, along with centric CA. These combine to create a less sharp, hazy-appearing prototype quality at the widest apertures.
The following example shows a neutrally-colored subject in the background (behind the plane of sharp focus) and in the foreground. These are 100% crops.
What nosotros see in this example is that there are some mild highlight fringing color differences, but zilch too bad here.
When using an ultra-wide angle lens, information technology is not hard to get the sun in the frame and the dominicus is one of the best sources of lens flare available. Even with the sun in the corner of the frame, this lens shows just a modest amount of flare effects at f/xvi and minimal flare effects are present at wider apertures for a very impressive performance.
Coma is generally recognized by sharp contrast towards the center of an image and long, soft contrast transition toward the paradigm periphery. Coma becomes quite visible mid-frame and in the corners of images captured at wide apertures and significantly resolves when the lens is stopped downwardly. Astigmatism is another lens image quality attribute that is frequently apparent in the corners and the pin-point stars in the night sky are a subject that makes these aberrations, along with some others, most hands recognizable to me.
As this lens appeared to exist the ultimate wide bending astrophotography lens, I couldn't look to put some stars in the corner of the xiv Fine art'southward frame. With increasingly darker and clearer skies, I went out five unlike evenings, hoping for improved results each time, hoping that I was maybe slightly mis-focusing.
1 | 2 | 3 | 4
Corner results from the best paradigm of each of the first 4 nights are shown above, and on the fifth nighttime, I used an equatorial tracking mount. The 5th dark tracking mount results simply confirmed the other results. While these results are relatively good in comparison with this lens' peers, in that location are however wings on the corner stars.
From a geometrical baloney perspective, this lens shows some of the butt variant. The amount is not extreme and the effect is rather even (vs. a mustache/wave pattern), but if direct lines are running near and parallel to the frame borders, the curvature will be noticed.
Most mod lenses take lens correction profiles available for the popular epitome processing software programs and distortion can be easily removed using these, but distortion correction is destructive at the pixel level and this technique is seldom as good as using a baloney-costless lens in the outset place. Again, non-Sigma cameras will not provide lens distortion in-camera for Sigma lenses, pregnant that information technology will show in JPG-format images and in movies.
Bokeh, the quality of the background blur, is not as large of a concern with an ultra-broad angle lens as it is with longer focal length lenses, but this lens appears to create a squeamish quality blur fifty-fifty when stopped down to f/viii, where the aperture blades are greatly affecting the blur quality.
Every bit the discontinuity gets narrower, signal light sources take on a starburst effect and ofttimes I detect that the wider the max aperture of the lens, the stronger the star effect a lens tin can produce. The nine-bract discontinuity creates 18-point stars as seen below.
The Sigma 14mm f/1.viii Fine art Lens' optical score takes a ding from the modest barrel baloney and some blackout/astigmatism showing in the corners, but it is otherwise a stellar performer in this regard.
Focusing
Like the rest of the Fine art lenses hit the street to date, the 14mm Art Lens gets Sigma's best AF system, HSM (Hypersonic Motor). At normal focus altitude changes, AF locks on the subject almost instantly. Practice a full extent AF adjustment, from virtually minimum focus distance to infinity or vice versa, and you can easily sentry the lens make its adjustment. Quiet focusing is normal for HSM systems and this one over again meets that expectation with but a "shhhh" of the lens elements/groups moving during AF.
Despite the relatively deep depth of field provided by the 14mm focal length non stressing an AF organisation to keep subjects inside the deep depth of field, this lens notwithstanding does not come up shut to what I consider "skillful" in terms of consistent AF accuracy and the peripheral AF points did not perform equally well equally the eye AF bespeak. That is of form not what I wanted to have to tell you here, only ... that is my experience with this lens and have tripod-tested information technology over and over once more on a pair of EOS 5Ds R bodies and an EOS 1D Ten Marking II with similar results delivered past all three. Live view (or an EVF) blazon AF provides a much better accuracy feel and at this broad of an bending, transmission focusing is often an easy option.
While AF consistency cannot be calibrated, focus calibration tin exist adjusted (in detail) using the Sigma Dock (more than virtually this later).
As usual for Sigma HSM implementations, internal focusing is featured and FTM (Full Fourth dimension Transmission) focusing is enabled. Both are nice features commonly establish on quality lenses.
The 14'southward effective focal length changes modestly with focusing, causing subjects to change size slightly equally the focus ring is turned. Focus, establish framing and and so tweak focusing to perfection for a critically-framed image.
The 14 Art's manual focus ring is very prissy. It is smooth, has no play and has an platonic amount of rotation for precise transmission focusing even with very shut subjects. The location of this ring encompassed the entire rear portion of the wide front end section of the lens (a location similar to that of the Sigma 12-24mm Fine art Lens focus ring). The focus ring is nicely-sized (larger than the 12-24 Art lens' MF ring), very easy to find and inherently quite wide in diameter.
The 14mm Art lens' 10.6" (270mm) minimum focus distance produces a very-meager 0.10x maximum magnification. This spec lands this lens near the lesser of the nautical chart of 14 or 15mm-capable lenses. While a higher spec would exist prissy, it would not exist very practical to decrease the minimum focus distance considering, at MFD, there is currently but about 2.v" (63mm) of working space in front of the hood.
| Model | MFD | MM | |
| Canon EF 11-24mm f/4L USM Lens | 11.0" | (280mm) | 0.16x |
| Canon EF 14mm f/two.8L Ii USM Lens | 7.nine" | (200mm) | 0.15x |
| Canon EF xvi-35mm f/2.8L III USM Lens | 11.0" | (280mm) | 0.25x |
| Irix 15mm f/two.iv Blackstone Lens | eleven.0" | (280mm) | |
| Nikon xiv-24mm f/2.8G AF-S Lens | 11.0" | (280mm) | 0.15x |
| Nikon 14mm f/two.8D AF Lens | seven.9" | (201mm) | 0.15x |
| Rokinon SP 14mm f/two.4 Lens | 11.0" | (280mm) | 0.08x |
| Sigma 12-24mm f/4 DG HSM Art Lens | ix.4" | (240mm) | 0.20x |
| Samyang 14mm f/2.viii IF ED UMC Lens | 10.eight" | (274mm) | |
| Sigma 14mm f/1.eight DG HSM Art Lens | x.6" | (270mm) | 0.10x |
| Tamron 15-30mm f/ii.viii Di VC USD Lens | 11.0" | (280mm) | 0.20x |
| Zeiss 15mm f/2.8 Milvus Lens | 9.8" | (250mm) | 0.11x |
As shared in the distorted portrait sample picture above, at this lens minimum focus distance, the ultra-wide angle perspective distortion effect tin can be established.
Frequently, a lens' minimum focus distance tin exist reduced via extension tubes. However, on lenses this wide, even a 12mm extension tube reduces the minimum focus distance too much to be usable. With the lens focused to infinity, the maximum focus distance with the 12mm ET is against the front lens chemical element. To be usable at that focus distance, the discipline would need to be lit from behind and if you need that much magnification, this isn't the right lens for the purpose.
Build Quality & Features
With the Global Vision serial, Sigma introduced a modern, classy-looking, tightly-dimensioned, high-quality design for their lenses. From the artful mix of matte and gloss black finish to the great-feeling sharply ribbed safety rings to the nicely-shaped overall dimensions, the Art lenses all accept very impressive design qualities. And, looking and feeling great lends to a high fun-to-employ factor.
While this lens, appearing very similar to the Sigma 12-24mm f/four DG HSM Art Lens including the large convex objective element, has a somewhat unique shape, it still appears to fit in with the residual of the Art-designated lens family.
The image above shows these two just-referred-to lenses side-by-side with their shared design elements being obvious.
This is a fixed-size lens with the focus band and AF/MF switch beingness the merely external moving parts. As mentioned, the focus band is easy to find and performs very nicely. The AF/MF switch is conveniently positioned on a slightly raised switch depository financial institution. Every bit standard with Global Vision lenses, the back of the switch shows white when in the car position.
The lens hood, nicely-protecting the large convex front lens element, is congenital-in and non-removable.
Like many of the Sigma Art lenses being introduced at this fourth dimension, the lens butt construction material of choice is a Thermally Stable Composite (TSC) material, used for greater precision and for meliorate-handling wide temperature variations, with traditional metal components also being utilized.
Equally this is a lens that will be oftentimes used outdoors, that it has weather sealing is highly appropriate and desirable.
Weighing in at 41.iii oz (1170g) and measuring 3.8 x 5.0" (95.4 10 126.0mm), the Sigma 14mm Art lens does not gain entry into the lightweight club. It is simply .4 oz (10g) abroad from equaling the heaviest lens in the nautical chart below. Nevertheless, especially considering the ultra-wide aperture, this lens' size and weight are in line with expectations.
| Model | Weight | Dimensions westward/o Hood | Filter | Year | ||
| Catechism EF 11-24mm f/4L USM Lens | 41.7 oz | (1180g) | 4.3 x five.2" | (108 x 132mm) | 2015 | |
| Catechism EF xvi-35mm f/2.8L III USM Lens | 27.9 oz | (790g) | 3.5 x 5.0" | (88.5 x 127.5mm) | 82mm | 2016 |
| Canon EF 14mm f/2.8L Ii USM Lens | 22.viii oz | (645g) | 3.1 x 3.7" | (80.0 ten 94.0mm) | 2007 | |
| Irix 15mm f/two.4 Blackstone Lens | 24.2 oz | (686g) | four.v x 3.9" | (114.0 x 100.0mm) | 95mm | 2016 |
| Nikon 14-24mm f/2.8G AF-Southward Lens | 34.2 oz | (969g) | three.9 x 5.2" | (98.0 x 131.5mm) | 2007 | |
| Nikon 14mm f/ii.8D AF Lens | 23.7 oz | (670g) | 3.4 10 3.iv" | (87.0 x 86.5mm) | 2000 | |
| Rokinon SP 14mm f/2.4 Lens | 27.ix oz | (791g) | 3.7 x 4.3" | (95 x 109.4mm) | 2016 | |
| Samyang 14mm f/2.viii IF ED UMC Lens | 19.5 oz | (552g) | 3.4 ten three.8" | (87.0 x 96.1mm) | 2012 | |
| Sigma 12-24mm f/4 DG HSM Fine art Lens | 40.6 oz | (1150g) | iv ten 5.ii" | (102 x 131.5mm) | 2016 | |
| Sigma 14mm f/1.eight DG HSM Fine art Lens | 41.3 oz | (1170g) | 3.8 x v.0" | (95.4 ten 126.0mm) | 2017 | |
| Tamron 15-30mm f/2.8 Di VC USD Lens | 38.8 oz | (1100g) | 3.9 x 5.seven" | (98.iv x 145mm) | 2014 | |
| Zeiss 15mm f/2.eight Milvus Lens | 33.4 oz | (947g) | iv.0 x 3.9" | (102.3 x 100.2mm) | 95mm | 2016 |
For many more comparisons, review the complete Sigma 14mm f/1.8 Art Lens Specifications using the site's Lens Spec tool.
Hither is a visual comparison of some of the in a higher place-listed lenses:
Positioned to a higher place from left to correct are the post-obit:
Nikon 14mm f/two.8D AF Lens
Canon EF 14mm f/2.8L 2 USM Lens
Samyang 14mm f/ii.8 IF ED UMC Lens
Sigma 14mm f/1.8 DG HSM Art Lens
Zeiss 15mm f/2.eight Milvus Lens
Use the site'southward product image comparison tool to visually compare the Sigma 14mm f/1.eight Fine art Lens to other lenses. That page has some other comparison yous might notice interesting pre-loaded.
Every bit already noted, this lens is not compatible with standard threaded front filters and installation of the Rear Filter Holder FHR-xi is required for use of rear drop-in gel filters. Those wanting to use round polarizer and neutral density filters volition demand to observe a 3rd party filter holder and these use very large filters.
Commonly provided with lenses having integrated hoods is a lens cap that likewise covers the sides of the hood and that lens cap style is provided with the 14mm Art lens. This cap uses a friction fit via a thin ring of flocking-like cloth inside the hood. While staying attached is problematic for some of these caps, this ane, similar to the Sigma 12-24mm Art Lens cap, has been property on nicely.
The Sigma 14mm Art Lens arrives in a overnice zippered padded nylon case with a shoulder strap, though without a belt loop.
Sigma Global Vision and the USB Dock
Sigma'due south Global Vision lenses go a classification of "A", "C" or "Due south", representing a main Sigma-intended use of "Creative", "Contemporary" and "Sports". A total description of these categories can be constitute in the Sigma 35mm f/1.4 Fine art Lens press release.
Don't read likewise much into the category names (they are besides limiting), just Sigma has been introducing some very nice lenses under all 3 names. This of class is an "Art" lens and as such, gets an "A" stamped in a classy chrome circle on the lens barrel.
A great feature of the Global Vision lenses is compatibility with the Sigma Dock. The dock, working in conjunction with the Sigma Optimization Pro software, allows the lens' firmware to be updated (bug fixes, compatibility updates, characteristic enhancements, etc.) and allows precise autofocus calibration at four distances. FTM can also be disabled/controlled via the dock. Here are some screen grabs showing some of the functionality.
The focus scale values were set for illustration purposes simply.
Toll and Value
Not only do the Sigma 14mm and 12-24mm Art lenses share the same appearance, they too, as of review fourth dimension, share the aforementioned street price. That fact gives this 14mm Fine art lens another title – the nearly expensive Art prime lens available at this time. While the high price will certainly limit this lens' adoption to the enthusiast and professional person ranks, the unavailable-otherwise ultra-wide aperture combined with impressive epitome quality and solid build make this lens a reasonable value in the overall market.
The Sigma 14mm f/1.viii Art Lens is available in Catechism (reviewed), Nikon, and Sigma mounts and the Canon and Sigma versions tin be used on a Sony Due east-mount photographic camera torso via the Sigma Mountain Converter MC-11. This lens qualifies for Sigma's Mount Conversion Service in case you afterward alter your heed. My standard disclaimer: There are potential issues with third political party lenses. Since Sigma reverse engineers (vs. licenses) manufacturer electronics and algorithms, at that place is ever the possibility that a DSLR torso might non support a (likely older) third party lens. Usually a lens can be made uniform by the manufacturer via a firmware update, just this cannot be guaranteed. Compatibility with the Sigma USB Dock is risk reducing as Sigma tin brand dock-uniform lens firmware updates available for download. Sigma U.s. provides a 4-twelvemonth limited warranty (Sigma'due south international limited warranty is 1 twelvemonth).
The lens used for this review was obtained online/retail.
Alternatives to the Sigma 14mm f/1.8 Fine art Lens
Every bit of review time, if you need a full frame lens wider than 20mm with an aperture wider than f/2.4, this lens is your only option. Simply go buy the mount version you need. I will not keep repeating this big Sigma advantage in the comparisons below, but keep this special attribute in mind. If the wide aperture demands tin can be relinquished, the options increment.
Matching the 14mm focal length with an about-1-stop narrower aperture is the manual-focus-only Rokinon SP 14mm f/ii.4 Lens. The Sigma is sharper at f/one.viii is considerably than the Rokinon is at f/2.4. The Rokinon approaches the Sigma's sharpness at f/4, only with the Sigma delivering amazing prototype quality at f/iv, it is still the easy winner in this comparison. At narrower apertures, the comparing becomes closer, but the Sigma retains the advantage, most notably in the extreme corners.
The Sigma has near 1-stop less peripheral shading at f/1.viii than the Rokinon has at f/2.four and has nearly 2-stops less when compared at the f/2.8 discontinuity. The Sigma also has considerably less flare and barrel distortion and is weather sealed. A Rokinon reward is light weight (27.9 vs. 41.iii oz, 791 vs. 1170g) and slightly shorter length (iv.31 vs. 4.96", 109.4 vs 126mm). The Rokinon has a longer focus ring rotation, though not everyone volition observe the 232° of rotation amend than the Sigma'south 122°. The fact that the Rokinon is roughly half the price of the Sigma (prices fluctuate, so check the current price difference) will not exist lost on most.
With a slightly narrower aperture than the Rokinon and made past the same manufacturer, the Samyang 14mm f/2.viii IF ED UMC Lens is on the radar at 14mm. Extreme low price is this manual-aperture, manual-focus-only lens' biggest asset, but it is a great value lens. For most aspects of this comparing, take the differences betwixt the Sigma and the Rokinon and extend them.
The Sigma is noticeably sharper, has much less peripheral shading, considerably less flare and far less barrel distortion with a less-complicated pattern. The Samyang weighs half as much, is considerably smaller and its focus ring has twice every bit much rotation. The Samyang has only half-dozen discontinuity blades (vs. ix) and is not built likewise including lack of conditions sealing. Again, deal basement pricing is this Samyang's greatest reason for popularity.
Canon photographers will want to consider the same-brand Catechism EF 14mm f/2.8L 2 USM Lens alternative to the Sigma 14mm Art lens. I know, I'm starting to audio repetitive, but ... the Sigma is sharper at f/1.8 than the Canon is at f/two.8. The two are getting more similar at f/4, but the Sigma retains the advantage. The Sigma has noticeably less lateral CA, about one.5 stops less peripheral shading at f/2.8, less flare and more than aperture blades (9 vs. 6). The Canon has less baloney, weighs considerably less (22.viii vs. 41.3 oz, 645g vs. 1170g) and has a higher maximum magnification (0.15x vs. 0.10x). My AF accurateness feel was better with the Canon than the Sigma. In this comparison, information technology is the Sigma that has the noticeably lower toll tag.
Nikon owners volition of course consider their dwelling brand 14mm choice, the Nikon 14mm f/two.8D AF Lens. I have not used this lens in the field, only was not impressed with the prototype quality the review sample delivered for us. Yous guessed it, the Sigma is way sharper. The Sigma has almost 1.six stops less peripheral shading, shows far less flare and I would rather accept the Sigma'southward barrel distortion than the Nikon's moving ridge/mustache pattern. The Nikon is smaller/lighter and has a higher maximum magnification (0.15x vs. 0.10x). The Sigma has 9 aperture blades vs. the Nikon's half-dozen.
Nikon also make a very popular f/2.viii zoom lens that covers the 14mm focal length, the Nikon 14-24mm f/ii.8G AF-S Lens. At f/2.8, the Sigma is sharper. Merely, the difference is surprisingly small for a stopped-downward prime being compared to a wide open zoom. The Sigma has less lateral CA, less vignetting, less flare and considerably less distortion than the Nikon. These two lenses are not greatly different in size (the Nikon is slightly larger and lighter) and the Nikon over again has a college maximum magnification (0.15x vs. 0.10x). The Nikon has the higher price tag in this case, though it offers the versatility of a zoom range.
If you can slide up the focal length scale to 15mm, the Irix 15mm f/2.four Blackstone Lens, the Zeiss 15mm f/2.8 Milvus Lens or the Tamron 15-30mm f/2.8 Di VC USD Lens may suite your needs.
One time over again nosotros notice the Sigma winning the f/2.viii sharpness comparison versus the Irix lens, especially in the corners and the Sigma maintains some advantage at narrower apertures. At f/2.viii, the Sigma has near 3 stops less peripheral shading and likewise has less flare while the Irix has less baloney. The manual-focus-only Irix is noticeably smaller and lighter, accepts standard (95mm) filters and has a great price tag.
The Zeiss Milvus 15 is a very impressive lens, though as of review fourth dimension, I'm still trying to go a properly aligned copy of this lens. Information technology has the same optical design every bit its predecessor, the Classic version, so I'grand going to refer the earlier model for this comparison. I had and loved a Zeiss 15 for many years, but the Sigma at least equals it at f/one.8 and surpasses it at f/ii.viii in terms of sharpness. The Sigma has a nearly three-stop peripheral shading reward and shows slightly less flare while the Zeiss holds the baloney advantage. The Sigma is smaller than the Zeiss (with hood) but the Zeiss is lighter. The Sigma is well-built, but the all-metal Zeiss build is every bit practiced equally information technology gets. If your resources are limited, the Zeiss price is cringe-worthy.
The Tamron is the only epitome stabilized lens represented in this set of comparisons and that advantage should not be overlooked. The Tamron steps aside in the image quality comparison with the prime number lens turning in much sharper results than the zoom. The Sigma has less peripheral shading (though the difference is not extreme), it has less flare and information technology has less baloney. These two lenses weigh nearly the aforementioned, simply the Tamron is a bit longer. The Tamron has double the Sigma's max magnification (0.20x vs. 0.10x) and a considerably-lower toll tag.
If 16mm works for y'all, the impressive Canon EF sixteen-35mm f/ii.8L Three USM Lens should be considered. The Sigma vs. Canon comparison at f/ii.8 is going to challenge y'all to pick a winner, but my optics give the Canon zoom the border. At f/2.8, the Sigma has well-nigh 2.eight stops less peripheral shading. While these two lenses have a like corporeality of distortion, the Sigma has the nicer overall baloney profile. Though similarly-sized, the Canon is lighter (27.9 vs. 41.iii oz, 790 vs. 1170g), has a considerably-higher maximum magnification (0.25x vs. 0.10x), accepts standard threaded filters and has the zoom range versatility advantage. My AF accuracy experience is considerably better with the Canon than the Sigma.
Though f/4 is in a different league than f/1.8, those non needing a broad aperture at 14mm should besides consider the Canon EF xi-24mm f/4L USM Lens and the Sigma 12-24mm f/4 DG HSM Art Lens.
Summary
And then, is the Sigma 14mm f/one.eight Art Lens the best broad field astrophotography lens? Yes, equally of review time, I recall information technology is. Every bit popular equally astrophotography is, I'thou surprised by the lack of standout broad field lenses available for this purpose. The 14 Art'south corners are not perfect, simply with first-class wide open up image sharpness and a low amount of peripheral shading, this lens gets my vote as the best pick for capturing the dark sky.
Easy to say is that this is the best 14mm f/1.viii DSLR lens ever produced, equally in that location has never been some other. Not hard to argue is that the Sigma 14mm f/1.8 Art Lens has the best 14mm image quality available to date. This lens delivers impressively sharp images, ranking very high in the entire field of lenses (not just among its ultra-wide peers). The pattern of this lens is aesthetically pleasing and the build quality similarly-expert. The price will ready you dorsum a noticeable corporeality and the AF organization may not leave you impressed, simply the other aspects of this lens will arrive a top choice for fulfilling the critical ultra-wide angle needs in many serious kits. Prepare to say "Wow!" when reviewing your images.
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