SIGMA announces two new lenses, stretching its evergrowing range of high-end primes. The duo occupies both ends of the spectrum, with the SIGMA 500mm F5.6 DG DN OS Sports at the tele end, and the world’s first f/1.4 180° fisheye lens, the SIGMA 15mm F1.4 DG Art. Being DG DN lenses, both will come with either L-Mount or E-Mount
SIGMA pushes on with its ambitious global vision. Debuted years ago with the SIGMA 35mm f/1.4 Art (recently replaced by a modern version), it has utterly transformed SIGMA’s entire brand perception. Today SIGMA produces pristine optics, some are the pinnacle of their respective field. Provocative as it may sound, I believe the access to SIGMA’s lineup was, and still is a key component in the rise of Sony’s E-Mount cameras, as well as in the success of the L-Mount alliance. Today this prominent line is growing with two additional groundbreaking lenses.
Optical design
Both lenses boast quite complex optical designs. The 15mm f/1.4 Art DG DN Diagonal Fisheye lens’ optical formula consists of 21 elements in 15 groups, including 4 FLD, 3 SLD, and 2 aspherical elements. this complex design enables this lens to “overturn the conventional wisdom about fisheye lenses” (in SIGMA’s words). Fisheye lenses are notoriously problematic regarding technical optical qualities. Sometimes considered to be gimmick lenses, various manufacturers didn’t put up as much effort to get their models to optical perfection. SIGMA took another path, perfecting the optical formula. As the complex formula suggests this lens opt to combat every optical aberration, save for distortion. This should separate the world’s first f/1.4 Full-Frame fisheye lens from the crowd.
The 500mm f/5.6 DG DN OS Sports also sports a slew of elements. 20 that is, arranged in 14 groups. 3 FLD and 2 SLD elements should minimize most aberrations while keeping the lens size manageable for handheld shooting.
Build and ergonomics
Both the 500mm f/5.6 DG DN OS Sports and the 15mm f/1.4 DG DN Art are well-rugged, outdoor-ready lenses. Both are weather-sealed and are treated with protective coatings. The use of SIGMA’s TSC (Thermally Stable Composite) makes them a bit lighter than fully metallic construction. Both lenses use a fast autofocus motor, dubbed “High-response Linear Actuator” and include programmable AFL buttons, (functionality will differ depending on the mounted camera) each also possesses some unique features and functions, relevant to their respective use cases
SIGMA 500mm f/5.6 DG DN OS Sports
The 500mm f/5.6 seems light enough for hand-held use and includes a capable 5.0 stop optical stabilizer to reinforce its case in that regard. Though hand-holding is a viable option both lenses are equipped with a tripod collar and foot. This includes both standard screws as well as an Arca-type shoe.
The lens includes several switches and buttons. A focus limiter will let you limit the range in which the lens will hunt for focus. limiting this range may greatly improve reacquisition speed in the designated range since the lens doesn’t have to search across its full focus range. Three AFL buttons are also there. L-Mount shooters may reprogram them using the USB Dock. The L-Mount version is also compatible with SIGMA’s 1.4x and 2.0x teleconverters. The lens is also equipped with a de-clickable aperture ring (via a dedicated switch). Two switches will control the optical stabilizer (OS) unit. one on/off switch and one mode switch for general use or panning mode.
SIGMA 15mm f/1.4 DG DN Art
The SIGMA 15mm f/1.4 DG DN Art Includes a Manual Focus Lock (MFL) switch. once engaged this switch disables the focus ring, preventing any accidental motion. If you have ever tried to create a series of consecutive long exposures of the night sky you’ll appreciate this. If a heat strip is in use, the lens includes a specific retainer to prevent it from protruding into the 180° frame. As with many ultra-wide lenses, the 15mm f/1.4 Art lens is equipped with a rear filter holder. The lens cap features two slots to store those delicate filters when not in use.
Who are they for
Both 15mm and 500 mm focal lengths are rather niche. The tele is aimed at sport, wildlife, and other super-tele applications. the size and high-end build quality should help outdoor shooters haul such an extreme focal length into the wild.
With its fast aperture, extremely wide field of view, and unique operational features the SIGMA 15mm f/1.4 DG DN Art is aimed squarely at astrophotographers. Unlike other ultrawide lenses, its fisheye characteristics deny most mainstream architecture applications, but it can produce some interesting results on dance floors on your next wedding or rave session.
Alternatives
Although both lenses are on the fringe regarding focal range, the 500mm has many alternatives to choose from. Sony E-MOunt users will enjoy a variety of options, both zooms and primes, in various price ranges, from Tamron, Sony, and SIGMA. L-Mount users won’t have as many options but will still manage, mostly with SIGMA, and with no tele-primes. While reminiscent of focal range, these options vary greatly regarding optical and mechanical quality. The case for the 15mm f/1.4 is a tougher one, with no direct competitor combining both speed and field of view. One can opt for the slower Canon EF 8-15mm f/4L Fisheye USM, but it’s hardly parallel with an f/4 aperture.
Price and availability
The SIGMA 15mm f/1.4 DG DN Art will cost $1,999. The SIGMA 500mm f/5.6 DG DN OS Sports will set you back $2,999. Both are available for preorder.
To what end do you lean? Will it be the ultra-wide or the super-tele that ticks your box? Let us know in the comment section below.
