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(Có phụ đề)Sigma for Sony 30mm F1.4 video test and review.
Những đặc điểm chính của Sigma E mount 30mm F1.4
#reviewlens #sigma30f14 #30f14
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sigma 30mm 1.4 sony opiniones 주제에 대한 자세한 내용은 여기를 참조하세요.
Cảm nhận (đánh giá) về chiếc lens Sigma 30mm F1.4 DC DN …
Cảm nhận (đánh giá) về chiếc lens Sigma 30mm F1.4 DC DN Contemporary dành cho Sony · Độ mở khẩu lớn (f/1.4), chụp thiếu sáng cho ảnh chất lượng …
Source: tumivn.com
Date Published: 3/21/2021
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Sigma 30mm F1.4 DC DN Contemporary for Sony E-mount …
Compared to older Sigma DN lenses, the 30mm F1.4 doesn’t let its focus elements rattle about when unmounted, which is a very welcome change. The …
Source: www.dpreview.com
Date Published: 1/5/2022
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Sigma 30mm F1.4 DC DN Review (After 4 Years)
The Sigma 30mm F1.4 is just amazing. Autofocus is quick, images are razor sharp, build quality is superb, and it’s easily the best value lens …
Source: sonyphotoreview.com
Date Published: 2/29/2022
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Đánh giá chi tiết: Sony 35mm f/1.8 vs. Sigma 30mm f/1.4 DC …
So sánh 3 ống kính 35mm dành cho máy APS-C Sony ngàm E: Sony 35mm f/1.8 OSS, Sigma 30mm f/1.4 DC DC Contemporary và Sigma Art 30mm f/2.8 DN.
Source: www.vsion.vn
Date Published: 8/4/2021
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Sigma 30mm f/1.4 Review (For Canon & Sony E-Mount) – Shotkit
There’s plenty to love about the Sigma 30mm f/1.4 – not least its price tag, which makes it one of the best value Sony primes around. Image quality is excellent …
Source: shotkit.com
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Sigma 30mm f/1.4 DC DN C lens review: Sony E top-ranking …
The Sigma 30mm f/1.4 DN is an excellent standard prime option for Sony E-mount cameras and ranks at the top for all lenses we’ve tested on the …
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Sigma 30mm F1.4 DC DN Contemporary Lens Review
The Sigma 30mm F1.4 DC DN Contemporary Lens has an aesthetically pleasing design that maintains tight tolerances and has a quality finish. The gently tapering …
Source: www.the-digital-picture.com
Date Published: 5/10/2022
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Sigma 30mm F1.4 Contemporary DC DN Lens for Sony E
It is perfect for if you’re shooting a person or group of people with a nice blurry background behind them. It is also super effective at shooting landscape. It …
Source: www.amazon.com
Date Published: 8/14/2021
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주제에 대한 기사 평가 sigma 30mm 1.4 sony opiniones
- Author: Lơ MB
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- Date Published: 2021. 4. 19.
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Sigma 30mm F1.4 DC DN Review (After 4 Years) – Sony Photo Review
Updated 04/2022 with a TON of new sample photos (found at the bottom) plus some tweaks to the review.
When the trio of Sigma primes (16mm, 30mm, 56mm) came out a few years ago, Sony APS-C users rejoiced. After being neglected by Sony for so long, fans were excited to see a set of super sharp and fast lenses.
When I first switched to the Sony ecosystem back in mid 2018, I was looking for a budget lens that both performed well but also wasn’t too large (there’s a reason I switched away from a giant Canon DSLR setup).
Thus, I stumbled upon the Sigma 30mm F1.4. It was the first lens I purchased for my Sony a6000 and it’s still my favorite lens to this day. Read on and I’ll explain why I love it so much.
Looking for just a quick summary before jumping in?
3,390 Reviews Sigma 30mm F1.4 (Summary) – Razor sharp and beautiful images
– Bright F1.4 aperture
– Autofocus is reliable & fast
– Excellent build quality
– Best value APS-C lens
Prefer Adorama or eBay?
Me with my trusty Sigma 30mm F1.4.
Build Quality
Side & Weight
As stated in the intro, one of the biggest reasons I switched to the Sony a6000 ecosystem was for the smaller size & weight.
The Sigma 30mm F1.4 certainly met that criteria, weighing a reasonable 9.03oz (226g) and measuring a length of 2.9 inches (7.3cm).
Combining this lens with a Sony a6000 (with just a wrist strap) makes for an extremely small and portable kit, and honestly out of all the lenses I’ve used, I find this lens to fit the camera the best.
A picture I shot in Waterton Lakes.
Is the lens well built?
The Sigma 30mm F1.4 is made in Japan and the build quality is excellent, especially considering its an ultra budget APS-C lens. The barrel is made out of a mix of metal and thermally stable composite, a type of polycarbonate that is both strong but also lightweight.
Sigma uses it for a lot of their lenses, and it’s known for being long lasting, scratch resistant, and durable (which mine certainly has been).
The glass itself is also high quality, consisting of 9 elements with 9 aperture blades. There’s no plastic “glass” here like on some other cheaper lenses.
Update 04/2022: I’ve beat the crap out of this thing and it still works perfectly and looks clean.
The only accessory the lens ships with is a simple circular lens hood. It can feel a bit cheap and isn’t the most aesthetically pleasing, but it does the job of protecting the front element from both flares and bumps.
Mine still is in great shape after all these years. It’s even reversible for easier storage, fitting perfectly inside my Tenba BYOB 10.
Moving onto the next note: weather sealing. This lens, I assume due it’s budget price point, lacks any sort of weather sealing, but I haven’t found it to be a huge issue. Mine has survived plenty of rain, cold Wisconsin snowstorms, and dusty hikes out west.
To put it simply: I really do believe this lens was built to last.
As I stated, it’s survived dozens of adventures in inclement weather, been bumped against tons of hard surfaces, and has probably summited more mountains than some people ever will in their entire lives. I love it.
Chief Mountain near the Montana/Alberta border, photographed in 2019.
Aesthetics & Ergonomics
Another thing I appreciate about the Sigma 30mm F1.4 is the simple and minimalistic design. I understand that the aesthetics of a lens is a rather minor point, but this one looks really nice.
It has a sleek blackish-gray finish that contrasts very well with the white engraved text. The focusing ring is massive and to top it all off, there’s a nice little “C” badge (signifying the lens as being part of the “contemporary” lineup).
Unfortunately, to achieve such a clean and minimalistic lens barrel, they had to omit a physical AF/MF switch. It’s a bit annoying and probably my only major gripe with this lens.
Overall, I think the Sigma 30mm F1.4 is the perfect combination of build quality, size, and ergonomics. It balances perfectly on my Sony a6000 and the massive focusing ring provides a really nice rubberized gripping point when out shooting.
I’ve shot with this thing for hours straight in the city and haven’t had any issues with comfort. When hiking, I can toss it easily in my bag.
Some friends of mine on top of a mountain overlooking Hidden Lake in Glacier NP.
Image Quality
Sharpness
Next up, let’s talk about sharpness. The lenses in the Sigma trio (again, the 16mm, 30mm, 56mm) are known as being the sharpest lenses in the Sony APS-C lineup, and the Sigma 30mm F1.4 is absolutely no exception.
Wide open, the results aren’t quite as strong as the 16mm, but we still see incredibly sharp centers with only minor corner softness. Really impressive.
Stopping down just a bit is where the lens really starts to shine. I tend to shoot portraits at about F2 in order to get a great balance of bokeh and edge-to-edge sharpness.
As for obtaining “perfect” sharpness, the lens peaks at about F4, and even pixel peepers won’t find any significant flaws. I always obsessively zoom into my images in Lightroom and I really can’t find any major visual flaws with this lens.
As a matter of fact, if I’m not mistaken, by the numbers it is actually the 2nd sharpest lens for Sony APS-C cameras behind the Sigma 56mm F1.4.
A set of portraits, shot some time in early 2019 if I remember correctly.
Optical Quirks & Flaws
As for optical flaws, there’s only one major point to touch on: chromatic aberrations. When wide open, the lens has some serious purple fringing that is difficult to correct in post-processing.
Stopping down does remedy this somewhat, but you won’t see clean results until at least F2.5. Personally, I’m not particularly bothered by chromatic aberrations (I just don’t really notice it), but I figured it was worth mentioning.
As for everything else, the Sigma 30mm F1.4 honestly doesn’t suffer from any other optical issues.
Distortion is a bit above average (roughly 2.8% barrel distortion) but is easily fixable in something like Adobe Lightroom.
Vignetting is minor and flaring is almost non-existent. I’ve shot many backlit subjects and into direct sunlight and never suffered more than a minor loss of contrast.
A random cute dog in a dog park. Notice the lack of flaring and how well the lens holds contrast.
Overall Optical Performance
Over the years, I’ve had zero complaints about the optical quality of the Sigma 30mm F1.4. Not only is it incredibly sharp, but even the bokeh looks good. While not quite a telephoto, the lens renders beautiful bokeh balls that allow for excellent subject isolation.
As a fan of environmental portraits, I’ve found over the years that this is easily my most used lens for portraiture work.
Low light performance is also excellent due to the ultra-bright F1.4 aperture. I’ve gone on many nighttime photo walks and have rarely run into subjects that a bright streetlight combined with this lens couldn’t capture.
Overall, I’ve been extremely happy with the optical performance over the years.
Already interested in buying?
3,390 Reviews Sigma 30mm F1.4 The Sigma 30mm F1.4 produces excellent images whilst still retaining an incredibly low price.
A long exposure of the Seattle skyline that I took a few years ago.
Focusing System
Autofocus
When it comes to autofocus, it’s not flawless but performance is respectable. It’s quick and quiet, but I have noticed over time that it does struggle with low light conditions.
Later in the day after the sun sets, you have to keep an eye on what the lens actually gets into focus, otherwise you might end up with some missed shots.
That being said, in good lighting conditions, the focus is top tier. The lens plays extremely well with Sony’s autofocus assists such as EyeAF and AF-C (subject tracking).
In addition, it’s dead silent, which is a big plus for video shooters. On the other hand of that though, the lens doesn’t have optical image stabilization. I do wish it did, but I can see why it was omitted to keep the price low and the size small.
Autofocus is quick, allowing you to capture cute and candid moments.
Manual Focus
Over time, I’ve been experimenting with manual focus more after getting into vintage lenses.
The MF experience on this lens can’t quite compare to a vintage manual lens, but I found the (gigantic) focus ring to be well designed and fairly accurate.
There’s no focus/distance scale, but I didn’t have much issue pulling accurate focus thanks to Sony’s various manual focus assists such as focus peaking and the magnifier.
Overall, I’m fairly happy with the manual focus experience despite not having a physical AF/MF switch. Still, I generally just stick to AF anyway.
A foggy forest I captured just a while back in Grand Teton NP.
My Final Thoughts
Alternatives
Near the end of my articles I usually like to present alternatives. That being said, there really aren’t any comparable competitors in this focal length.
If you’re looking to go wider, however, I’d suggest looking at the Sigma 16mm F1.4.
If you’re looking to get more of a telephoto focal length, check out the Sigma 56mm F1.4. All three lenses from the Sigma trio are incredible.
My old bright orange car I captured contrasted against the beauty of Waterton Lakes.
Value for Money
In case I haven’t made it clear yet, I adore the Sigma 30mm F1.4. Autofocus is largely great, the sharpness is truly top tier, and the build quality is right up there with much more expensive lenses.
Frankly, I’m not even sure how this lens is as cheap as it is. For a stills photographer, there really is no lens in the entire Sony APS-C lineup that can even come close to comparing with the value for money that this Sigma offers. There’s a reason it’s still my favorite lens after so many years.
If you’re looking to pick up an incredible and versatile lens without breaking the bank, the Sigma 30mm F1.4 is the way to go.
If I’ve convinced you to pick it up yourself, I’ll include purchase links below. Thank you for reading, I hope you fall in love with the lens as much as I did! 🙂
3,390 Reviews Sigma 30mm F1.4 The Sigma 30mm F1.4 is just amazing. Autofocus is quick, images are razor sharp, build quality is superb, and it’s easily the best value lens for Sony APS-C cameras.
Sigma 30mm F1.4 Sample Photos
A guy in the dog park petting his cute pupper.
A set of portraits.
A super cute dog having a GREAT time somewhere in Milwaukee.
A friend of mine photographing Milwaukee at dusk.
A sunset I photographed during my first time visiting Seattle.
My buddy posing on a cold Wisconsin afternoon (the snow is fake, by the way).
A van in Grand Teton National Park.
Not my best shot, but it really highlights the strong bokeh of this lens.
A portrait of my friend at Waterton Lakes National Park (Alberta, Canada).
Another set of portraits.
Me basking in a giant waterfall (photographed by a friend).
The stunning Waterton Lakes National Park in Canada.
Hey, thanks for looking through all my photographs! If you’re sold on the Sigma 30mm, please consider purchasing it through my link. I get a small commission at no extra cost to you, thanks! <3 Also, by the way, they also make this lens for Canon EF-M mount. This lens earned a spot on many of my best lens lists. I mean, it is literally my favorite lens of all time. Disclaimer: Some links in this article may be affiliate links, which means I get a (very small) commission if you purchase things through my links. If you do, thank you for the support! <3
Đánh giá chi tiết: Sony 35mm f/1.8 vs. Sigma 30mm f/1.4 DC DN vs. Sigma 30mm f/2.8 DN Art
Trong số những ống kính dành cho ngàm E (crop APS-C) của Sony hiện nay, có 3 ống kính cho góc nhìn 50mm tiêu chuẩn phổ thông: Sony E 35mm f/1.8 OSS, Sigma 30mm f/1.4 DC DN Contemporary và Sigma 30mm f/2.8 DN Art. Với sự tăng trưởng và ngày càng phổ biến của dòng máy ảnh alpha series, a5000/a6000/a6300/a6500, những ống kính góc 50mm này đang ngày càng được quan tâm nhiều hơn và luôn nằm trong danh sách những ống kính được săn đón nhiều nhất trên thị trường, nhờ mức giá hợp lý và độ tiện dụng của nó. Trong bài so sánh sau đây, chúng ta sẽ cùng xem xét chất lượng quang học, sự tiện dụng và hiệu quả của từng ống kính ra sao. Mục đích chính là để giúp bạn có thể tìm ra được ống kính phù hợp với nhu cầu của bạn nhất.
THÔNG SỐ
Tên ống kính Sony E 35mm f/1.8 OSS Sigma 30mm f/1.4 DC DN Contemporary
Sigma 30mm f/2.8 DN Art Góc nhìn ống kính 44 độ / tương đương 52.5 mm full frame 50.7 độ / tương đương 45 mm full frame Khoảng khẩu độ f/1.8 – f/22 f/1.4 – f/16 f/2.8 – f/22 Số lá khẩu 7 lá khẩu 9 lá khẩu 7 lá khẩu Chất liệu vòng lấy nét Hợp kim nhôm và nhựa chất lượng cao Kim loại và vật liệu composite chịu nhiệt của Sigma (TSC) Kim loại và nhựa chất lượng cao Đường kính filter 49mm 52mm 46mm Focus Autofocus Autofocus Autofocus Chống rung Có (Sony OSS) Không có Thiết kế quang học 8 thấu kính / 6 nhóm 9 thấu kính / 7 nhóm 7 thấu kính / 5 nhóm Khoảng cách lấy nét gần nhất 30cm (phóng đại 0.15x) 30cm (0.14x) 30mm (0.12x) Chống chịu thời tiết Không có Ngàm Sony E (crop / APS-C) Chiều dài 45mm 73.3mm 40.5mm Khối lượng 154g 263g 140g Vòng khẩu Không có Có Không có
THIẾT KẾ VÀ SỰ THUẬN TIỆN KHI SỬ DỤNG
Cả 3 ống kính 35mm f/1.8, 30mm f/1.4 và 30mm f/2.8 đều được coi là các ống “tiêu chuẩn” do có góc nhìn tương đương tiêu cự 50mm trên full-frame (47°). Đây là tiêu cự thông dụng có thể sử dụng cho ảnh đường phố, sự kiện, chân dung hay du lịch, ống 50mm luôn là lựa chọn đầu tiên của bất kỳ ai khi mới bắt đầu chơi ảnh và đã nhận ra sự hạn chế của lens kit đi kèm máy. Trong 3 ống kính này thì 2 ống Sigma có góc nhìn rộng hơn một chút (45mm) so với ống của Sony (tương đương góc nhìn ống kính 52.5mm trên máy full frame).
Trong 3 ống kính thì 30mm f/1.4 có khẩu lớn nhất nhưng lại không có f/22 so với 2 ống kính còn lại. Đây cũng là ống kính có kích thước lớn nhất. Nó dài gần gấp đôi ống 35mm f/1.8 và 30mm f/2.8, kể cả về trọng lương, do có khẩu lớn hơn và thiết kế thấu kính phức tạp hơn. Mặc dù vậy, đây vẫn là một lựa chọn cực tốt đối với hệ APS-C của Sony và hầu như bạn sẽ không để ý đến kích thước của nó khi chụp thực tế đâu, nếu như so với các hệ ống kính và máy khác.
Mặc dù không ống nào có khả năng chống chịu thời tiết, cả 3 ống đều được làm với chất liệu cao cấp, thân làm bằng nhựa và kim loại chắc chắn. Trong 3 ống kính thì ống Sony 35mm f/1.8 nhẹ nhất do có ít phần kim loại trên thân nhất.
Cả 3 ống kính đều sử dụng cơ chế lấy nét “fly-by-wire” trên thân. Trong 3 ống thì Sigma 30mm f/1.4 cho cảm giác lấy nét bằng tay mượt mà nhất. Tuy nhiên thì ống kính Sony 35mm f/1.8 lại dễ tháo ra lắp vào nhất do vòng lấy nét ngắn và mỏng hơn so với 2 ống Sigma.
Ngoài vòng lấy nét, bạn sẽ không tìm thấy các chi tiết gì khác trên ống kính, không có nút bấm hay vòng khẩu trên các ống. Cả 3 ống đều có khoảng cách lấy nét gần nhất là 30cm.
Đi kèm với các ống kính đều có hood nhỏ bằng nhựa để chống loá và bảo vệ kính trước. Sel 35mm f/1.8 có hình cánh hoa, Sigma thì có hình tròn.
Chỉ duy nhất ống kính 30mm f/2.8 là có 2 màu bạc và đen, 2 ống còn lại chỉ có duy nhất màu đen được bán.
CHẤT LƯỢNG QUANG HỌC
a6300, 1/40, f/8, ISO 200 – 35mm f/1.8
a6300, 1/3200, f/2.8, ISO 200 – 30mm f/1.4
a6300, 1/320, f/5.6, ISO 100 – 30mm f/2.8
ĐỘ NÉT
Để so sánh độ nét của các ống kính, kết quả được chụp từ nhiều khẩu độ và khoảng cách xa gần khác nhau.
Ở khoảng cách xa, với khẩu lớn nhất, bạn có thể thấy rõ ống kính 30mm f/2.8 nét hơn cả 2 ống 30mm f/1.4 và 35mm f/1.8. Điều này là không quá ngạc nhiên, do các ống kính có khẩu độ lớn như f/1.4 hay f/1.8 khó đạt được độ nét tốt ngay tại khẩu lớn nhất như f/2.8. Sony 35mm f/1.8 nét hơn Sigma 30mm f/1.4 một chút, nhưng điều này cũng có thể được giải thích do sự khác biệt về khẩu độ.
Khép xuống f/2 cũng không cải thiện nhiều về độ nét cho 2 ống 35mm f/1.8 hay 30mm f/1.4
Khép xuống f/2.8 thì kết quả có vẻ cân bằng hơn, tuy nhiên nếu nhìn vào chi tiết chỗ hàng rào hay bức tường thì micro-contrast của 30mm f/2.8 và 35mm f/1.8 có vẻ tốt hơn.
Tại f/4, ống kính 30mm f/2.8 đạt độ nét tối ưu nhất, khác biệt về độ nét giữa 3 ống kính là không đáng kể.
Tại f/5.6, Sigma 30mm f/1.4 và Sony 35mm f/1.8 lại vượt lên trên Sigma 30mm f/2.8 một chút. Do hiện tượng tán xạ (diffraction) bắt đầu xuất hiện với ống này ngay tại f/5.6. Tuy nhiên tại f/8, kết quả lại có vẻ tiếp tục cân bằng, hiện tượng tán xạ bắt đầu xuất hiện ở trên 2 ống kính còn lại. Độ tương phản của 3 ống kính cũng kém hơn tại giá trị khẩu độ này.
f/11 vẫn cho ra kết quả tương đối ổn, tuy nhiên nên tránh dùng khẩu độ này thì sẽ ổn hơn.
So sánh 3 ống kính ở khoảng cách gần hơn, khoảng 1.5m đến chủ thể, kết quả lại có vẻ khác đi nhiều. Tại khẩu độ lớn nhất, kết quả 3 ống kính lại rất tương đồng mặc dù khẩu độ lớn nhất của 35mm f/1.8 và 30mm f/1.4 lớn hơn 30mm f/2.8 rất nhiều.
Khép xuống f/2.8, cả 35mm f/1.8 và 30mm f/1.4 đều vượt trội so với 30mm f/2.8.
Tại f/4, kết quả khá tương đồng như chi tiết trên cửa gỗ cho thấy ống Sigma 30mm f/1.4 cho độ nét và chi tiết tốt nhất.
Từ f/5.6 cho đến f/11, kết quả rất giống nhau và khó có thể phân biệt được. Độ nét tối ưu rơi vào khoảng f/5.6 và hiện tượng tán xạ bắt đầu xuất hiện từ f/8.
Về độ nét tại góc, bạn có thể thấy rõ 2 ống kính Sigma tốt hơn Sony tương đối cho đến f/5.6.
Như vậy, mỗi ống kính đều đã cho thấy điểm mạnh và điểm yếu của mình ở trong các điều kiện khác nhau. Mặc dù có giá rẻ nhất, Sigma 30mm f/2.8 cho kết quả cực tốt tại khẩu lớn nhất và f/4 đối với khoảng cách xa và vô cực, trong khi Sigma 30mm f/1.4 vượt trội tại khoảng cách lấy nét gần, tại cả f/1.4 và f/2. Sony 35mm f/1.8 thì khá cân bằng trong mọi điều kiện, kể cả chủ thể ở xa hay gần, điểm yếu duy nhất là độ nét tại rìa không tốt lắm.
BOKEH
Một yếu tố quan trọng khác cần được đánh giá là bokeh của từng ống kính, nhất là với Sigma 30mm f/1.4 và Sony 35mm f/1.8 với khẩu độ lớn. So sánh 3 ống kính tại khẩu lớn nhất, Sigma 30mm f/1.4 cho hiệu ứng bokeh mềm mại và dễ chịu nhất. Hình dạng bokeh ở cả 3 ống kính đều tròn, ra rìa thì bắt đầu méo dần. Ống 35mm f/1.8 và 30mm f/1.4 cho bokeh “mắt mèo” rõ nhất ở phần rìa.
Sigma 30mm f/1.4 at f/1.4
Sony 35mm f/1.8 at f/1.8
Sigma 30mm f/2.8 at f/2.8
Tại f/1.7, bokeh của Sigma 30mm f/1.4 cũng tròn hơn và dễ chịu hơn so với 35mm f/1.8 tại f/1.8.
Sony 35mm f/1.8 at f/1.8
Sigma 30mm f/1.4 at f/1.7
Tương tự đối với khẩu độ f/2 trên 2 ống kính.
Sony 35mm f/1.8 tại f/2
Sigma 30mm f/1.4 tại f/2
Sony 35mm f/1.8 tại f/2
Tại khẩu độ tương đồng f/2.8, Sony 35mm f/1.8 và Sigma 30mm f/1.4 có hiệu ứng khá giống nhau, tuy nhiên hình dạng trên bokeh của Sony nhìn nhức mắt hơn một chút. Sigma 30mm f/2.8 có bokeh bé nhất, còn hiệu ứng cũng khá giống với 2 ống kính còn lại.
Sony 35mm f/1.8 at f/2.8
Sigma 30mm f/2.8 at f/2.8
Nhìn vào những bức ảnh trên đây và cả những bức ảnh trong phần so sánh độ nét, Sigma 30mm f/1.4 thực sự là lựa chọn tuyệt vời nhất cho việc chụp chân dung, khẩu lớn nhất, bokeh mềm mại nhất và độ nét tốt nhất với chủ thể ở gần. Tiếp theo mới đến Sony 35mm f/1.8 và Sigma 30mm f/2.8.
LOÁ, QUANG SAI VÀ ĐỘ MÉO
Cả 3 ống kính đều khử loá và ghost khá tốt. Trong vài trường hợp nếu chụp thẳng mặt trời như ảnh dưới dây thì ghost và loá sẽ xuất hiện đôi chút, nhưng không phải là vấn đề lớn với cả 3 ống kính này.
Sigma 30mm f/1.4
Sony 35mm f/1.8
Sigma 30mm f/2.8
Quang sai (viền tím) xuất hiện tại khẩu lớn nhất với cả 3 ống kính, tuy nhiên có thể được khử dễ dàng trong Lightroom với profile của từng ống kính. Sony 35mm f/1.8 chịu quang sai lớn nhất cho đến f/4, Sigma 30mm f/2.8 chỉ bị tại f/2.8 còn Sigma 30mm f/1.4 bị nặng nhất tại f/2.
35mm f/1.8 at f/4
30mm f/2.8 at f/2.8
30mm f/1.4 at f/2
Khử méo và tối góc đều được xử lý tự động trong Lightroom với Sony 35mm f/1.8 và Sigma 30mm f/2.8. Với Sigma 30mm f/1.4, bạn phải tự lựa chọn trong phần Lens Corrections.
Nếu không sử dụng profile, hiện tượng méo là khá rõ với cả 3 ống kính, tệ nhất là Sigma 30mm f/1.4.
Sony 35mm f/1.8 – Không có profile
Sony 35mm f/1.8 – Có profile
Sigma 30mm f/2.8 – Không có profile
Sigma 30mm f/2.8 – Có profile
Sigma 30mm f/1.4 – Không có profile
Sigma 30mm f/1.4 – Có profile
Về hiện tượng tối góc, Sony 35mm f/1.8 bị tối góc hơn so với 2 ống kính Sigma, tuy nhiên nếu sử dụng profile thì bạn sẽ khó nhận ra hiện tượng này.
Nếu như bạn chỉ định chụp với JPGs, cách tốt nhất để hạn chế tối góc, viền tím và méo là bật hết tất cả các lựa chọn trong phần menu Lens Comp. ở trên máy Sony (Shading Comp., Chro. Aber. Comp., Distortion Comp.) sang Auto. Nó không có hiệu quả lắm trong việc khử viền tím tại khẩu lớn nhất nhưng lại xử lý méo và tối góc rất tốt.
Về hiện tượng tối góc, Sony 35mm f/1.8 bị tối góc hơn so với 2 ống kính Sigma, tuy nhiên nếu sử dụng profile thì bạn sẽ khó nhận ra hiện tượng này.
Nếu như bạn chỉ định chụp với JPGs, cách tốt nhất để hạn chế tối góc, viền tím và méo là bật hết tất cả các lựa chọn trong phần menu Lens Comp. ở trên máy Sony (Shading Comp., Chro. Aber. Comp., Distortion Comp.) sang Auto. Nó không có hiệu quả lắm trong việc khử viền tím tại khẩu lớn nhất nhưng lại xử lý méo và tối góc rất tốt.
GÓC NHÌN
Góc nhìn của ống Sony hẹp hơn một chút so với 2 ống còn lại do tiêu cự dài hơn. Điều thú vị là cả 2 ống Sigma lại có góc nhìn hơi khác nhau dù cùng một tiêu cự. 30mm f/2.8 có vẻ có góc nhìn rộng hơn 30mm f/1.4 kể cả khi chụp xa hay gần.
Sigma 30mm f/1.4
Sigma 30mm f/2.8
Sigma 30mm f/1.4
Sigma 30mm f/2.8
Một điều thú vị khác là dù góc nhìn khác nhau, nhưng ở khoảng cách lấy nét gần nhất với 30mm, cả 3 ống kính có góc nhìn và bố cục rất giống nhau, đặc biệt là 2 ống 35mm f/1.8 và 30mm f/1.4. Điều này có thể được giải thích là Sigma 30mm f/1.4 có hiện tượng “focus breathing” nặng hơn so với 2 ống kính còn lại.
Sony 35mm f/1.8
Sigma 30mm f/1.4
Sigma 30mm f/2.8
CHỐNG RUNG
Chỉ duy nhất Sony 35mm f/1.8 có chức năng chống rung. Với những người sử dụng thân máy không có chức năng chống rung (ngoại trừ a6500), có chức năng chống rung trên ống kính sẽ rất hữu dụng khi chụp với tốc độ thấp. Với 35mm f/1.8, chụp ở tốc độ 1/3 hay kể cả 0.4s cũng vẫn cho ra được ảnh nét tốt. Với Sigma, kết quả an toàn nhất chỉ khoảng 1/15 giây mà thôi.
a6300, 0.4s, f/1.8, ISO 400
KHẢ NĂNG LẤY NÉT
Để so sánh khả năng lấy nét, cả 3 ống kính được sử dụng trên máy a6300, với firmware mới nhất (version 1.10). Sony 35mm f/1.8 là ống kính duy nhất hoàn toàn tương thích với hệ thống lấy nét PDAF của a6300. Nếu bạn chuyển sang chế độ C-AF và khu vực lấy nét rộng Wide focus area, vùng lấy nét màu xanh của PDAF sẽ sáng toàn bộ khu vực bất kể đối tượng của bạn đang di chuyển như thế nào. Với Sigma 30mm f/1.4, hệ thống PDAF chỉ hoạt động tại khu vực trung tâm. Nếu chủ thể dịch chuyển khỏi khu vực trung tâm, camera sẽ chỉ sử dụng hệ thống lấy nét bằng tương phản (contrast detection AF). Hy vọng ống kính sẽ được nâng cấp firmware để tương thích hoàn toàn với hệ thống PDAF này. Sigma 30mm f/2.8 là hạn chế nhất, PDAF chỉ sử dụng trong khu vực trung tâm, rất hẹp. Với chế độ S-AF, cả 3 ống đều lấy nét nhanh nhưng không nhanh bằng những ống khác trong hệ E-mount. Trong điều kiện thiếu sáng hay tương phản thấp, hiện tượng hunting sẽ xuất hiện đôi chút. Ngạc nhiên là, trong những trường hợp này thì 35mm f/1.8 và 30mm f/1.4 lại tệ hơn 30mm f/2.8. Cả 3 ống kính đều có cơ chế lấy nét gần như không tiếng động, và 30mm f/2.8 lại tỏ ra vượt trội. 35mm f/1.8 và Sigma 30mm f/1.4 đều có tiếng click khá nhỏ.
Dưới dây bạn có thể theo dõi một video mô tả cơ chế lấy nét của cả 3 ống kính trên a6300:
Khi quay video với chế độ C-AF, cả 3 ống kính có thể chuyển điểm lấy nét khá nhanh. Sigma 30mm f/1.4 chậm nhất (không nhiều), Sony 35mm f/1.8 và Sigma 30mm f/2.8 khá cân bằng.
LẤY NÉT BẰNG TAY
Với chế độ lấy nét bằng tay, cơ chế fly-by-wire hoạt động khá chính xác. Ống kính 30mm f/1.4 cho cảm giác dễ chịu nhất do vòng lấy nét to. Như đã mô tả lúc trước, 30mm f1.4 bị hiệu ứng “focus breathing” nhiều hơn so với 2 ống kính còn lại.
KẾT LUẬN
Trước khi bắt đầu bài so sánh này, có lẽ ai cũng nghĩ rằng 35mm f/1.8 và 30mm f/1.4 sẽ vượt trội hơn so với 30mm f/2.8, do chênh lệch về giá và khẩu độ, tuy nhiên kết quả lại có vẻ không như dự kiến. Đối với những người thích chụp chân dung, chắc chắn Sigma 30mm f/1.4 sẽ là lựa chọn tốt nhất. Với độ nét tốt nhất ở khoảng cách gần, bokeh mượt mà, hình dáng bokeh to, đây là lựa chọn hoàn toàn hợp lý.
Sigma 30mm f/2.8 sẽ không phù hợp nếu như bạn thích có dof mỏng. Khẩu thấp, độ nét không bằng 35mm f/1.8 và 30mm f/1.4 khi chủ thể ở gần. Tuy nhiên độ nét tương đồng ở toàn khung hình từ f/2.8 đến f/8 ở khoảng cách xa lại rất đáng để cân nhắc, là một lựa chọn phù hợp cho ảnh đường phố, tư liệu hay cả phong cảnh. Giá thành cũng dễ chịu hơn nhiều so với 2 ống còn lại.
Cuối cùng là Sony 35mm f/1.8, lựa chọn “cân bằng” nhất. Kết quả tốt ở tại mọi khẩu độ, phù hợp với tất cả các thể loại. Đặc biệt, nó là ống kính duy nhất có chức năng chống rung và tương thích hoàn toàn với hệ thống lấy nét của a6000/a6300/a6500. Chỉ có 2 điểm yếu duy nhất: độ nét rìa không tốt ở khẩu lớn (không quá quan trọng nếu chụp chân dung) và giá thành (đắt nhất trong 3 ống kính).
Lựa chọn Sony 35mm f/1.8 nếu như: Bạn cần ống kính nhỏ gọn cho Sony APS-C camera
Bạn chụp nhiều thể loại từ chân dung, đến đường phố hay phong cảnh
Bạn cần chức năng chống rung khi chụp trong điều kiện thiếu sáng
Bạn cần chụp nhiều chủ thể di chuyển nhanh (như trẻ con hay thú cưng) và cần hệ thống AF hoàn hảo Lựa chọn Sigma 30mm f/1.4 nếu như: Bạn cần độ nét và bokeh tốt nhất cho chụp chân dung
Bạn hay chụp trong điều kiện thiếu sáng và cần khẩu độ f/1.4 Lựa chọn Sigma 30mm f/2.8 PRO nếu như: Bạn không có nhiều kinh phí
Bạn cần một ống kính nhỏ gọn cho Sony APS-C camera
Bạn chụp đường phố và phong cảnh là chính
Bạn ít khi chụp trong điều kiện thiếu sáng
Ảnh mẫu
Sony 35mm f/1.8
Sigma 30mm f/1.4
Sigma 30mm f/2.8
Bài viết gốc: mi rrorlessco mparison
Sigma 30mm f/1.4 Review
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With so many lens options available for mirrorless APS-C cameras, it can be difficult to decide what to get.
A good mid-range prime is often a first purchase for many photographers and the Sigma 30mm f/1.4 stands out as a great choice.
I’ve been continually impressed with the quality and performance this lens offers. With an equivalent focal length of 45mm on Sony APS-C cameras, it’s perfect for a wide variety of subjects.
Highly Recommended Sigma 30mm f/1.4 Impressive image quality and beautiful bokeh for an affordable price. Check Current Price
The large f/1.4 aperture allows you to get great bokeh in a portrait but without the restrictive-feeling focal range that some telephoto lenses have.
Offered in both Sony and Canon mounts, I love this lens for everything from landscapes to portraits. It performs well in a variety of scenes and has a flexible focal range for shooting inside and out.
If you want a fast mid-range prime lens that’s similar to a “nifty-fifty” this lens is a great option.
In this review, I’ll dive into the details of what makes this lens great, what I think it’s best suited to, and what could be improved.
Let’s take a closer look to see if it’s one of the best Sigma lenses of the year.
Sigma 30mm f/1.4 Review: Summary There’s plenty to love about the Sigma 30mm f/1.4 – not least its price tag, which makes it one of the best value Sony primes around. Image quality is excellent, as is autofocus ability. Though it lacks a focus switch, it’s well-built, compact, lightweight and all-round worth the purchase.
Sigma 30mm f/1.4 Specs
Pros Bokeh
Value
Size/weight Cons No auto/manual focus switch
Some aberration/color fringing
APS-C / Crop Sensor Lens
Aperture Range: f/1.4 – f/16
Minimum Focus Distance: 0.3m (11.8″)
Weight: 9.35 oz / 265 g
Length: 2.89″ / 73 mm
Diameter: 2.55 ” / 65 mm
Filter size: 52mm
Build & Ergonomics
When I first picked up the Sigma 30mm f/1.4, I knew it would be tough, durable, and nicely balanced. The build quality is evident and feels similar to what you find on higher-end Sigma lenses.
The metal barrel is rugged and also features a large durable rubberized focus ring. This gives me a firm place to grip the lens and get steady images.
Designed with simplicity, this lens doesn’t have any buttons or switches. The simple design is sleek but I would have appreciated an auto/manual focus switch (very handy when shooting video).
Along with the sleek design, this lens feels very sturdy. The focus ring is firm and the mount gives it a firm attachment to the camera.
It’s awesome to have a lens that feels like it will take lots of abuse and keep on creating great images.
Another feature that I appreciate is the compact size and nice balance on my Sony a6100. At 9.35 oz (265 grams) this lens is very compact and lightweight. It balances well and doesn’t feel front heavy like some larger lenses can.
It also tucks easily into a jacket when out on adventures.
Overall, the build of this lens is awesome, especially for the price tag! More on the value of this lens below.
Focus Performance
The Sigma 30mm f/1.4 autofocus is excellent. I never have issues with it hunting for sharp focus and find that it is able to track subjects in low light with ease.
Part of the excellent low light focusing is due to the fast f/1.4 aperture combined with the excellent focus system on the Sony a6100.
If you want a lens that will grab focus quickly in almost any scene, I highly recommend the Sigma 30mm f/1.4.
My only complaint with the focus system is the lack of an auto/manual focus switch. It would be nice – especially for video shooters – but with the amazing price of this lens, it’s a feature I can live without.
I originally believed that off-brand lenses (non-Sony lenses in my case) were not as fast at focusing but the Sigma 30mm f/1.4 convinced me that may not be true anymore. It keeps up to speed and performs as quickly as any of the Sony lenses I own.
If focus speed is a concern, you will not be disappointed with this lens.
Image Quality
With so many of the mirrorless APS-C cameras being very high quality and offering exceptional performance, it’s important to have a lens that can keep up with the camera body. The Sigma 30mm f/1.4 is up to the task.
Typically, the first thing you’ll notice when moving from a zoom lens to a prime lens is the increase in sharpness. Many photographers often get a standard prime like the Sigma 30mm f/1.4 as their first prime lens.
The Sigma 30mm f/1.4 will not disappoint and delivers excellent sharpness across the frame. Sharpness does increase as you stop down but I had no complaints even at the edges at f/1.4 (typically where lenses perform the worst).
This lens is much sharper than some of the alternatives in the same focal range (namely the Sony E 35mm f/1.8 OSS).
When it comes to distortion and chromatic aberration, I don’t think this lens has any major issues. As you would expect with a relatively inexpensive lens, there is some aberration and distortion but after applying the Adobe Lightroom presets, most of the issues are corrected.
The best part about the Sigma 30mm f/1.4 is the bokeh.
With an equivalent full frame focal length of 45mm and a minimum aperture of f/1.4, this lens can create some beautiful background blur. I love using this lens for medium-range portraits to really draw the viewers eye to the sharpest part of the frame (usually the eyes/face).
Overall, this lens has great image quality and has impressive specs, especially for the price!
Sigma 30mm f/1.4 Sample Images
Check out these sample images taken with the Sigma 30mm f/1.4.
Value for Money
Value is likely the biggest feature of this lens. Although the fast aperture, focus speed, and image quality are remarkable, what really sets this lens apart is the sub-$300 price tag.
I would argue that this is the best value in its class when you compare the quality you’re getting for the price of this lens. With the Sony E-mount, it’s a better quality lens (and cheaper) than the Sony E 35mm f/1.8 OSS (APS-C version).
The substantially more expensive Sony FE 35mm f/1.8 (full frame version) has upgraded features like an auto/manual focus switch as well as a programmable focus hold button. The image quality is better – but it’s more than twice the price.
If you want a fast standard prime lens for shooting a variety of subjects, the Sigma 30mm f/1.4 is a great choice!
Sigma 30mm f/1.4 Review | Conclusion
For the price and the performance, this lens is spectacular! I would say it’s best in class when it comes to value vs quality.
The Sigma 30mm f/1.4 is a great option for someone who wants a lens that can create beautiful portraits and also have a nice standard focal range for shooting other subjects like landscapes or sports.
Build quality, ergonomics, autofocus, image quality, and value are all impressive on this lens. I can’t find any major complaints about it.
Having such a versatile and quality lens in my bag is very handy. I also love that it’s so compact/lightweight that I never hesitate to carry it with me.
If you want a fast standard prime lens (“nifty fifty”) for your Sony or Canon APS-C mirrorless camera, I highly recommend the Sigma 30mm f/1.4.
Highly Recommended Sigma 30mm f/1.4 Impressive image quality and beautiful bokeh for an affordable price. Check Current Price
Sigma 30mm f/1.4 DC DN C lens review: Sony E top-ranking prime
Part of the DN range of lenses for mirrorless cameras, the Sigma 30mm f/1.4 DC DN C (Sigma 30mm f/1.4 DN) is a fast-aperture, third-party standard prime for Sony E-mount cameras. Taking into account the 1.5x crop factor on Sony APS-C sensors, the Sigma 30mm f/1.4 lens offers an equivalent 45mm focal length, making it a good option for a variety of subjects, including portraits and general use.
Featuring a bright f/1.4 maximum aperture, it’s a great option for low-light shooting environments, too, and the fast aperture, combined with its 9 circular aperture blades, can produce attractive background bokeh and shallow depth-of-field effects.
For easier use with filters, the internal focus system keeps the front element static during focusing, and the 30cm minimum focus distance makes closeup photography a possibility, too. Costing just $339, the Sigma 30mm f/1.4 DN is an affordable lens that opens up some new shooting possibilities for Sony shooters. Let’s see how its DxOMark scores stack up.
Key Specifications:
F/1.4 maximum aperture
60mm equivalent focal length
Sony E lens mount
30cm minimum focus
52mm filter thread
9 circular aperture blades
DC motor
9 elements in 7 groups
Length 73.3mm
Weight 265g
Measurement: Outstanding sharpness
Achieving an excellent score of 29 points tested on the Sony A6000, the Sigma 30mm f/1.4 DN is the highest-ranked Sony E-mount lens we’ve tested. It’s also the brightest, boasting great light transmission of 1.8 TStop thanks to its wide maximum aperture setting.
The Sony version doesn’t fare quite as well as the MTF version previously tested for other lens metrics, such as distortion, vignetting, and chromatic aberration, due to the larger APS-C sensor that the Sony version covers.
At the maximum f/1.4 aperture setting, noticeable corner shading of –1.7EV occurs, although it significantly improves to –1EV at f/1.8 and is completely eliminated by f/2.8. Chromatic aberrations are well-controlled across large parts of the frame, and although some fringing in the very far corners affected the overall score, it shouldn’t have a big impact on your pictures. Barrel distortion of 1.5% will benefit from some post-production correction to achieve straight lines.
Noticeable barrel distortion of 1.5% will require post-production correction to achieve straight lines
The maximum lateral chromatic aberration results were recorded in the far corners of the frame, limiting the impact on your pictures
Heavy vignetting of –1.7 EV occurs at the maximum f/1.4 aperture, but reduces to –1 EV at f/,2 and is completely eradicated between f/2.8 and f/16
Sharpness is a significant improvement over the Micro-Four-Thirds format version, however, and its score of 16 P-Mpix is the joint highest sharpness score achieved on a Sony E-mount lens alongside another Sigma prime (the 60mm f/2.8 DN A). Resolution is strongest between f/2.8 and f/5.6, with acutance approaching 80% across large parts of the frame and only minor drop-off in the corners. Wide open at f/1.4, the Sigma 30mm f/1.4 DN is not completely uniform, but it’s not far off, with acutance around 65% in the center, dropping to 60% at the edges. Diffraction at narrower f/11 and f/16 apertures reduces sharpness, which drops just below 60%, but resolution is reasonably uniform at these settings, too.
Sharpest at f/4 on the A6000, the Sony 30mm f/1.4 DN achieves almost 80% acutance in the center of the fram,e dropping to around 70% in the outer field
Sigma 30mm f/1.4 DN vs. Zeiss 32mm f/1.8 vs. Sony E 35mm f/1.8
Comparing the Sigma 30mm f/1.4 DN with the $720 Carl Zeiss Planar Touit 1.8/32 (Zeiss 32mm f/1.8) and own-brand $398 Sony E 35mm f/1.8, the Sigma lens is better in a number of respects.
Not only is it the cheapest, despite boasting a larger maximum f/1.4 aperture, it also offers the best light transmission and significantly improved sharpness. The Sigma 30mm f/1.4 DN is actually sharper and more uniform at its maximum f/1.4 aperture compared to the Zeiss and Sony competitors at f/1.8. All three are at their sharpest around f/4, but again, the Sigma version offers increased resolution in the center, and is noticeably more uniform, too.
At their respective maximum apertures, the Sigma 30mm f/1.4 DN is sharper in the center and noticeably more uniform compared to the Zeiss 32mm f/1.8 and the Sony E 35mm f/1.8
The same is true at f/4, too, at which the Sigma 30mm f/1.4 DN boasts slightly greater resolution overall and improved results in the outer field compared to the competition
Despite a lower overall vignetting score for the Sigma 30mm f/1.4, it’s worth noting that this was recorded at its maximum f/1.4 aperture. Close down 1 stop to f/1.8, and corner shading on the Sigma is more comparable to Zeiss at the same setting and an improvement over the Sony E 35mm f/1.8. The Sigma clearly distorts more than the Zeiss and Sony competition, which is something to watch out for, but as previously noted, this can be easily corrected in post-production.
Despite fairly heavy (–1.7EV) corner shading at f/1.4, close down 1 stop and vignetting on the Sigma 30mm f/1.4 DN is comparable to the Zeiss 32mm f/1.8 and better than the Sony E 35mm f/1.8
Conclusion: Very attractive option
The Sigma 30mm f/1.4 DN is an excellent standard prime option for Sony E-mount cameras and ranks at the top for all lenses we’ve tested on the A6000. Sharpness is outstanding, delivering excellent center resolution at all aperture settings up to f/8, with only minimal drop-off in the corners. Vignetting is pretty heavy at f/1.4, as the lens struggles to achieve the same intensity of light across the large APS-C sensor at its maximum aperture, but it improves greatly by f/1.8 and is all but eradicated by f/2.8. Compared to the significantly more expensive Zeiss 32mm f/1.8 and Sony’s own E 35mm f/1.8, the Sigma version is both sharper in the center and more consistent across the frame. Add to that the faster maximum f/1.4 aperture, and the $339 Sigma 30mm f/1.4 DN looks to be a very attractive standard prime option for Sony mirrorless photographers.
Sigma 30mm F1.4 DC DN Contemporary Lens Review
Sigma 30mm F1.4 DC DN Contemporary Lens Review
The Sigma 30mm F1.4 DC DN Contemporary Lens is being reviewed alongside the Sigma 56mm F1.4 DC DN Contemporary Lens and a couple of other Sigma lenses. These lenses share the advantages of a smaller image circle, including reduced cost, decreased size, and a lower price. The APS-C format Sigma 30mm F1.4 DC DN Contemporary Lens features those attributes while still providing an ultra-wide aperture and very good image quality. This is an attractively designed lens with a highly-valued normal focal length.
APS-C camera owners (and full-frame camera owners willing to accept a smaller image circle) looking for a high-quality general-purpose prime lens have a good option to consider in the affordable Sigma 30mm F1.4 DC DN Contemporary, a top-selling APS-C prime lens.
Focal Length
The focal length is always a primary consideration when selecting the ideal lens for a particular use. The focal length determines the angle of view, which determines the subject distance required, with perspective determined by that distance.
For those of us who work in full-frame angles of view, this lens provides a 45mm (Sony 1.5x field of view crop factor calculation) full-frame angle of view equivalent.
The APS-C 30mm, full-frame 45mm angle of view provides a natural appearance to compositions, and that aspect brings great general-purpose usefulness.
Modestly wider than the ultra-popular full-frame 50mm focal length, the 45mm full-frame-equivalent focal length is useful for similar purposes. These uses include fashion, portraiture, weddings, documentaries, street, lifestyle, sports, architecture, landscape, commercial, around-the-home, and general studio photography applications, including product photography.
As you likely noted, many good applications for this lens include people as subjects. An APS-C 45mm lens (on a full-frame body) provides an angle of view too wide for tightly framed headshot portraits (a too-close perspective is required), but 45mm is an excellent choice for wider portrait framing, especially full-body portraits.
To visualize where 30mm fits among other common focal lengths, I’ll borrow an example from the Tamron 35-150mm f/2-2.8 Di III VXD Lens review. The indicated focal lengths are converted to the APS-C equivalent angle of view.
This lens is a great choice for video needs covering the abovementioned subjects.
Max Aperture
Having an f/1.4 aperture is liberating when shooting in dark environments, and the background blur this aperture can create is differentiating for this focal length.
This lens’s f/1.4 max aperture is nearly as wide as it gets for AF lenses near 30mm (full-frame 50mm f/1.2 options are available), though most major lens manufacturers offer 35 and 50mm lenses in f/1.4 aperture.
Use f/1.4 to allow a significant amount of light to reach the imaging sensor. Use that light to enable subject and camera motion stopping shutter speeds in very low light levels with low ISO settings keeping noise levels down. It seems there is always enough light for handholding an f/1.4 lens.
Another advantage of a wide aperture lens is the background blur it can create. A 30mm lens set to f/1.4 with a close subject creates a shallow DOF, drawing the viewer’s eye to the in-focus subject against a smoothly blurred background. The ability to blur the background adds artistic capabilities to this lens’s list of highly-desired features.
The following examples show the maximum blur this Sigma lens can create at the respective aperture setting.
Here are two more f/1.4 samples:
If you are shooting under a full sun at f/1.4, you will likely need at least 1/8000 sec shutter speeds at ISO 100 to keep the exposure dark enough. Positive is that there is little action that a 1/8000 sec shutter speed cannot stop, but if the subject has very bright or reflective colors, even a 1/8000 sec shutter speed might not be fast enough to avoid blown highlights. Optionally use ISO 50 if your camera provides this setting, though the dynamic range may be impacted. Better still is that some cameras have shutter speeds faster than 1/8000 available.
Using a neutral density filter is a good solution to retaining the use of f/1.4 under direct sunlight when the shutter limitation is exceeded. Stopping down (narrowing) the aperture is always an option for preventing an image from getting too bright, though stopping down negates the need for the wide f/1.4 aperture, and the subject-isolating shallow depth of field is lost.
Creating wide apertures requires larger, heavier lens elements that translate into larger, heavier, and more expensive lenses. Thanks to the smaller APS-C image circle requirement combined with this design, this lens is small, light, and reasonably priced.
For most photographers, the benefits of a wide max aperture prime lens far outweigh the drawbacks. Usually, no flash is required.
Image Stabilization
The Sigma 30mm F1.4 DC DN Contemporary Lens does not feature image stabilization. Omitting the optical stabilization system reduces the size, weight, complexity, and cost, and the ultra-wide f/1.4 aperture feature aptly handles many low-light scenarios. Still, image stabilization is a very useful feature.
Sony addresses that omission with Steady Shot IBIS (In-Body Image Stabilization) in their Alpha cameras. In addition to reducing camera shake, the stabilized imaging sensor provides a still viewfinder image, enabling careful composition. Furthermore, sensor-based AF takes advantage of the stabilized view for improved accuracy.
With no IS switch on the lens, the camera menu must be used to enable or disable IBIS or check the current settings. This extra step is a slight impediment to working quickly, going from tripod mounted to handholding, for example.
At review time, Canon EOS M cameras do not offer the IBIS feature.
Image Quality
How sharp is the Sigma 30mm F1.4 DC DN Contemporary Lens? Let’s find out.
In the center of the frame, the Sigma 30mm F1.4 DC DN Contemporary Lens produces reasonable sharpness. Typically, lenses are not as sharp at their wide-open apertures as they are when stopped down one or two stops, and at f/2, this lens is really sharp.
Moving farther out on the image circle, where light rays are refracted to a stronger angle than in the center, lenses typically show decreased sharpness. This lens shows only a gradual decline, with stopped-down improvements mirroring the center of the frame benefit.
Taking the testing outdoors, we next look at a series of center of the frame 100% resolution crop examples. These images were captured in RAW format using a Sony Alpha 1 and processed in Capture One using the Natural Clarity method. The sharpening amount was set to only “30” on a 0-1000 scale. Note that images from most cameras require some level of sharpening, but too-high sharpness settings are destructive to image details and hide the deficiencies of a lens.
The f/1.4 results are a touch soft, but the details are very sharp at f/2. There was essential no sharpness improvement at f4, and none was needed.
Next, we’ll look at a series of comparisons showing 100% resolution extreme top left corner crops captured and processed identically to the above center-of-the-frame images. The lens was manually focused in the corner of the frame to capture these images.
Samples taken from the outer extreme of the image circle, full-frame corners, can be counted on to show a lens’s weakest performance, and these extreme corner results are a bit soft at f/1.4. By f/4, the corner performance is excellent.
Corner sharpness does not always matter, but it does matter for many disciplines, including landscape photography. When I’m photographing landscapes and architecture with corner sharpness being desired, I’m probably using f/8 or f/11 to obtain enough depth of field for in-focus corner details, and this lens works well for these purposes at these apertures. The corners are usually intentionally out of focus when shooting at wide apertures. Videos captured at typical wide-aspect ratios also avoid the use of corners.
This lens does not exhibit focus shift, the plane of sharp focus moving forward or backward as the aperture is narrowed (residual spherical aberration or RSA).
A lens, especially an ultra-wide aperture lens, can be expected to show peripheral shading when used at the widest aperture settings. This lens’s just over 2-stops of shading at f/1.4 is noticeable but not especially strong. By f/2, the shading is reduced to just over 1 stop. Vignetting continues to decrease until f/4, where a minor quarter stop of shading remains in the extreme corners.
One-stop of shading is often used as the visibility number, though subject details provide a widely varying amount of vignetting discernibility. Vignetting is correctable during post-processing with increased noise in the brightened areas being the penalty, or it can be embraced, using the effect to draw the viewer’s eye to the center of the frame. Study the pattern shown in our vignetting test tool to determine how your images will be affected.
Lateral (or transverse) CA (Chromatic Aberration) refers to the unequal magnification of all colors in the spectrum. Lateral CA shows as color fringing along lines of strong contrast running tangential (meridional, right angles to radii) with the mid and especially the periphery of the image circle showing the most significant amount as this is where the most significant difference in the magnification of wavelengths typically exists.
With the right lens profile and software, lateral CA is often easily correctable (often in the camera) by radially shifting the colors to coincide. However, it is always better to avoid this aberration in the first place.
Color misalignment can be seen in the site’s image quality tool, but let’s also look at a worst-case example. The image below is a 100% crop from the extreme top left corner of a Sony a1 frame showing diagonal black and white lines.
We should only see black and white colors in this image, and this lens performs very well in this regard.
A relatively common lens aberration is axial (longitudinal, bokeh) CA, which causes non-coinciding focal planes of the various wavelengths of light. More simply, different colors of light 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 but is hazier) are other common lens aberrations to observe. Axial CA remains somewhat persistent when stopping down, with the color misalignment effect increasing with defocusing. The spherical aberration color halo shows little size change as the lens is defocused, and stopping down one to two stops generally removes this aberration.
In the real world, lens defects do not exist in isolation, with spherical aberration and spherochromatism generally found, at least to some degree, along with axial CA. These combine to create a less sharp, hazy-appearing image quality at the widest apertures.
The examples below look at the defocused specular highlights’ fringing colors in the foreground vs. the background. The lens has introduced any fringing color differences from the neutrally-colored subjects.
Considerable color separation is shown in the wide-aperture test results.
Bright light reflecting off lens elements’ surfaces may cause flare and ghosting, resulting in reduced contrast and sometimes interesting, usually destructive visual artifacts. The shape, intensity, and position of the flare effects in an image are variable, dependent on the position and nature of the light source (or sources), selected aperture, shape of the aperture blades, and quantity and quality of the lens elements and their coatings. Additionally, flare and ghosting can impact AF performance.
On this lens, “Super Multi-Layer Coating reduces flare and ghosting to help photographers produce sharp and high contrast images even in backlit conditions.” [Sigma] The low 9-element count is additionally helpful in this regard. This lens produced only minor flare effects even at narrow apertures in our standard sun in the corner of the frame flare test, an excellent performance.
Flare effects can be embraced or avoided, or removal can be attempted. Removal is sometimes very challenging, and in some cases, flare effects can be quite destructive to image quality. Thus, high flare resistance is a welcomed trait of this lens.
Two lens aberrations are particularly evident in images of stars, mainly because bright points of light against a dark background make them easier to see. Coma occurs when light rays from a point of light spread out from that point instead of being refocused as a point on the sensor. Coma is absent in the center of the frame, gets worse toward the edges/corners, and generally appears as a comet-like or triangular tail of light which can be oriented either away from the center of the frame (external coma) or toward the center of the frame (internal coma). Coma clears as the aperture is narrowed. Astigmatism is seen as points of light spreading into a line, either sagittal (radiating from the center of the image) or meridional (tangential, perpendicular to sagittal). This aberration can produce stars appearing to have wings. Remember that Lateral CA is another aberration apparent in the corners.
The image below is a 100% crop taken from the top-left corner of a Sony Alpha 1 image captured at f/1.4.
The corner stars are stretched and sporting wings. While these effects are not unusual, they are not perfect or ideal.
“To correct distortion, the lens takes advantage of the image correction capabilities of the mirrorless camera body, using the corrective power of the optical system to enhance sharpness.” [Sigma] Indeed, this lens produces strong barrel distortion.
While we might think that, with a single focal length to design for, prime lens designers would choose to eliminate all geometric distortion, that is not the case, and this lens has moderate barrel distortion. With increasing frequency, manufacturers are relying on software over physical lens design to handle geometric distortion.
Most modern lenses have correction profiles available (including in-camera), and distortion can easily be removed using these. Still, distortion correction is destructive at the pixel level as some portion of the image must be stretched or the overall dimensions reduced.
As seen earlier in the review, it is easy to illustrate the strongest blur a lens can create. Due to the infinite number of variables present among all available scenes, assessing the bokeh quality is considerably more challenging. Here are some f/8 (for diaphragm blade interaction) examples.
The first example shows defocused highlights filled rather smoothly and shaped relatively round.
The second two examples show full images reduced in size and looking very nice — normal.
Except for a small number of specialty lenses, the wide aperture bokeh in the frame’s corner does not produce round defocused highlights, with these effects taking on a cat’s eye shape due to a form of mechanical vignetting. If you look through a tube at an angle, similar to the light reaching the frame’s corner, the shape is not round. That is the shape we’re looking at here.
Noticeable truncation shows on the inside of the defocused highlights deep into the frame at f/1.4. As the aperture narrows, the entrance pupil size is reduced, and the mechanical vignetting absolves with the shapes becoming rounder.
A 9-blade count diaphragm will create 18-point sunstars (diffraction spikes) from point light sources captured with a narrow aperture. In general, the more a lens diaphragm is stopped down, the larger and better-shaped the sunstars tend to be. Wide aperture lenses tend to have an advantage in this regard, and this lens can produce attractive stars, as illustrated below.
The example above was captured at f/16.
Overall, this lens optically performs well. The sharpness is slightly lacking at f/1.4 (but looks great at f/2), there is strong color separation at wide apertures, and the geometric distortion is noticeable.
Focusing
Driven by a stepping motor, the Sigma 30mm F1.4 DC DN Contemporary Lens smoothly autofocuses with fast speed. The focusing is internal and practically silent.
Remember that (at least some) cameras, including the Sony a1, defocus the image slightly before final focusing in AF-S mode, even if the subject was initially in focus, adding significantly to the focus lock time. Autofocus lock speed is noticeably faster in AF-C mode.
With adequate contrast on the subject, this lens focuses in very dark environments, though perhaps not in light levels as low as I expected for an f/1.4 lens. Autofocusing becomes very slow in the lowest functioning light levels.
I found this lens to mostly focus accurately, the number one requirement of an AF system. Not every shot was accurately focused, but most were.
Normal is for the scene to change size in the frame (sometimes significantly) as the focus is pulled from one extent to the other. This is focus breathing, a change in focal length resulting from a change in focus distance. Focus breathing impacts photographers intending to use focus stacking techniques, videographers pulling focus, and anyone critically framing while adjusting focus. This lens produces a big change in subject size through a full extent focus distance adjustment.
This lens does not have an AF/MF switch. Changing this frequently used camera setting requires the use of the menu system (or a camera switch on some models).
This lens has a large, sharp-ribbed, rubberized focus ring that is easy to find. The ring rotates smoothly with ideal resistance.
The focus ring has a variable adjustment rate based on the rotation speed. A full extent focus distance change requires over four full rotations (1640°) if turning the focus ring slowly. Turn the ring fast, and 360° of rotation does the same.
The slow rotation manual focus adjustment steps are just short enough for high-precision focusing.
With a minimum focus distance of 11.8″ (300mm), this lens has a 0.14x maximum magnification spec, a relatively low number overall.
The chart below includes a set of complementary Sigma lenses along with more-similar alternatives.
A subject measuring approximately 5.3″ x 3.5″ (135 x 90mm) fills a full-frame imaging sensor at this lens’s minimum focus distance.
The USPS love stamps shared above have an image area that measures 1.05 x 0.77″ (26.67 x 19.558mm), and the overall individual stamp size is 1.19 x 0.91″ (30.226 x 23.114mm).
At minimum focus distance, expect soft image quality in the periphery at the widest apertures. By f/11, corner image quality improves substantially, though rather strong lateral CA remains.
Need a shorter minimum focus distance and higher magnification? Mount an extension tube behind this lens to significantly decrease and increase those respective numbers. Extension tubes are hollow lens barrels that shift a lens farther from the camera, allowing shorter focusing distances at the expense of long-distance focusing. Electronic connections in extension tubes permit the lens and camera to communicate and otherwise function normally. As of review time, Canon and Sony do not publish extension tube specs or manufacture these items in compatible mounts, but third-party extension tubes are available.
This lens is not compatible with extenders/teleconverters.
Build Quality & Features
The Sigma 30mm F1.4 DC DN Contemporary Lens has an aesthetically pleasing design that maintains tight tolerances and has a quality finish. The gently tapering design leads to the only moving feature, the long, straight, and comfortable to use focus ring.
The Sigma 30mm F1.4 DC DN Contemporary Lens features a TSC (Thermally Stable Composite) exterior. “TSC is a state-of-the-art polycarbonate that is designed to be both lightweight and extremely durable, and its chemical makeup means it doesn’t shrink or expand with changing temperatures. This material is so high-quality that we’re also incorporating it into our Art and Sports lenses to provide lightness and thermal consistency.” [Sigma]
180° of the barrel’s mount area features molded-in ribs that facilitate grip for mounting and dismounting the lens.
This lens has no buttons or switches. As hinted earlier, I miss the AF/MF button the most. Positive is that the lack of switches means increased reliability and decreased opportunity for dirt and moisture penetration.
“Sigma Contemporary lenses feature a mount gasket that protects against dust and moisture, but for affordability purposes, the balance of the lens is not sealed. Sigma claims that “The vast majority of contaminants work their way into lenses through the rear mount, so as long as they aren’t abused, these lenses will provide many years of trouble-free use, even in moderate weather. For regular use in more extreme conditions, Art or Sports lenses are the way to go.” [Sigma]
That said, for this Sigma Contemporary lens model, only the Leica L-mount version includes a mount gasket.
This Sigma lens is compatible with advanced mirrorless camera features, including Eye AF, in-camera lens correction (shading, chromatic aberration, distortion), and camera-based lens firmware updates.
Aided by the reduced image circle size required by APS-C imaging sensors, this lens is very small and light for its focal length and aperture specifications.
For many more comparisons, review the complete Sigma 30mm F1.4 DC DN Contemporary Lens Specifications using the site’s lens specifications tool.
Here is a visual comparison of the small Sigma DC DN lenses being simultaneously evaluated:
Positioned above from left to right are the following lenses:
Sigma 16mm F1.4 DC DN Contemporary Lens
Sigma 30mm F1.4 DC DN Contemporary Lens
Sigma 56mm F1.4 DC DN Contemporary Lens
Sigma 18-50mm F2.8 DC DN Contemporary Lens
The same lenses are shown below with their hoods in place.
Use the site’s product image comparison tool to visually compare the Sigma 30mm F1.4 DC DN Contemporary Lens to other lenses.
This small lens features also-small 52mm filter threads. While 52mm enjoys only limited popularity as a filter size, 52mm filters are relatively inexpensive.
Sigma includes hoods with their lenses, and the LH586-01 Lens Hood ships with the 30mm F1.4 DC DN Contemporary Lens. The LH586-01 offers optimal protection to the front lens element, including protection from dust, water, fingers, limbs, etc., and from flare-inducing bright light.
The hood’s interior is mold-ribbed for reduced internal reflections, and the LH586-01’s semi-rigid plastic build absorbs some impact, adding a layer of physical protection to the camera and lens. The round-shaped hood enables the lens to stand on its hood (conditions permitting). The rear portion of the hood is rubberized to, along with the mold-ribbed ring, facilitate installation and removal.
No lens case is included in the box, but finding a case for a common lens form factor is not challenging. Consider a Lowepro Lens Case or Think Tank Photo Lens Case Duo for a quality, affordable single-lens storage, transport, and carry solution.
Price, Value, Wrap Up
Sigma’s game is high quality for a reasonable price. In this case, the price is very low. Most of Sigma’s lenses are considered a good value, and this lens is especially that.
The “DC” in the name indicates that this lens provides an image circle wide enough to cover (only) an APS-C imaging sensor, and the “DN” indicates that this lens was designed for short flange mirrorless cameras. The Sigma 30mm F1.4 DC DN Contemporary Lens is available in Canon EF-M, Sony E, Leica L, Fujifilm X, and Micro Four Thirds mounts.
“Sigma lenses are born of well-thought-out design concepts, exceptional Japanese craftsmanship and manufacturing, and advanced lens performance testing and evaluation. To this end, Sigma has developed its own A1 proprietary MTF (modulation transfer function) measuring system using 46-megapixel Foveon direct image sensors. Even the most elusive high-frequency details are within the scope of Sigma’s quality control inspections. Every Global Vision lens is A1 tested, analyzed and approved before leaving the factory ensuring maximum performance out of the box.” [Sigma]
In regards to the Sony E-mount version of this lens, Sigma develops, manufactures, and sells lenses based on the specifications of E-mount, disclosed by Sony Corporation under license agreement. Sigma provides a 1-year limited warranty, and Sigma USA provides a limited 3-year warranty extension.
The reviewed Sigma 30mm F1.4 DC DN Contemporary Lens was online-retail sourced.
Summary
The Sigma 30mm F1.4 DC DN Contemporary Lens, Sigma 16mm F1.4 DC DN Contemporary Lens, and Sigma 56mm F1.4 DC DN Contemporary Lens form what Sigma refers to as “The F1.4 Mirrorless Trio”. The three lenses are complements, share many similarities, and their reviews are completing in parallel.
The compact, lightweight Sigma 30mm F1.4 DC DN Contemporary Lens is a very affordable choice for general-purpose use, with the wide f/1.4 aperture increasing this lens’s versatility.
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