![]() Sigma has recently (well, recently since I git these) release a 30mm f/1.4 which I would love to try, as it gets great reviews, but the thing about the 30mm f/2.8 is that it’s really, really cheap for what it is. F1.4 made it big that they wouldn't fit OSS.While I have the older versions of these lenses, the current models should be more or less the same internally. I would buy this lens, if sigma made it f/1.8 with OSS and similar size, while sharper and cheaper than Sony. With sigma 1/50 1/60 is your minimum speed you can handheld with a lot of risk. Sony will give a better picture when:ġ/15 f/1.8 vs. Because it's possible to take a sharper picture with Sony in low light handheld. Sony lens deserves to be mentioned better about these 2 points. I carry around my a6300 because it's small. So, Sony 35mm managed to fit OSS in a smaller package than sigma (f/1.8 respectingly) makes a great deal of difference for us. On my a7rii I wouldn't ever place neither of these two anyway for different reasons. This is Apsc lens, and Sony does not provide in body stabilization for its Apsc line. However, I read it entirely, and DPreview should have been a little more fair here. ![]() The Sigma suffers a bit more with a T stop of F1.8 versus the Sony's F2.1, meaning the Sigma has lost 2/3-stops of light, compared to just under 1/2-stop for the less complex Sony. Like all lenses, In terms of total light transmission, both fall a bit below their f-stop measurement. Thankfully, all standard Sony lens compensations are available and can be enabled to apply working corrections to out-of-camera JPEG images with the Sigma, and correction profiles are available in Adobe Camera Raw. It exhibits a potentially distracting amount of barrel distortion, which is much more noticeable over the Sony's lesser amount of pincushion distortion. Where the Sigma truly struggles is with distortion. With that being said, the Sony is a bit worse wide-open. If you stop the Sigma down from wide open to F1.8, the Sony is still losing 2/3-stop more light at the extremes compared with the Sigma. The Sigma exhibits a fair amount of lateral CA but this is very easily corrected, with corrections provided by the lens to allow correction either by the camera or most editing software.īoth lenses vignette fairly heavily, with both losing more than a stop on the edges when used wide-open. In fact, the Sigma is one of the sharpest lenses available for Sony E-mount, outperforming much more expensive options backed by brand recognition stamped on the lens barrel. This performance advantage remains throughout the aperture range. When it comes to sharpness, especially wide-open, the Sigma significantly outperforms the Sony. ![]() The high number of complex elements and heavy vignetting mean that while the Sigma reports a maximum aperture of F1.4, the actual total amount of light that passes through the lens ends up being T1.8. Without correction, it has potential to be a bit distracting. The good news is stopping down even to F1.8 shows a great improvement.Īnother trade-off for having an F1.4 maximum aperture in a relatively small lens is fairly severe barrel distortion that is easily detected in any scene with straight vertical elements. There is some lateral CA but this is easily removed, either by the camera or most editing software.Īs to be expected with a bright aperture prime, the Sigma experiences some heavy vignetting wide-open, with 1 1/3 stops light lost in the extreme corners. In terms of chromatic aberration, the Sigma puts up a fairly decent performance. Sharpness is not just high wide-open, it's also pretty well maintained across the field, falling off very gradually without any sudden drop near the edge (so there shouldn't be any nasty surprises at the corners.) As the lens is stopped down, sharpness improves across almost the entire frame, although much of the improvement ends up concentrated in the center 2/3 of the frame. ![]() ![]() The Sigma 30mm F1.4 DN is an exceptional performer, compared with its E-mount peers. ![]()
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