Sigma 50mm f1.4 review

However; what about chromatic aberrations... none of the 50mms except
for the Sigma are designed to reduce CAs and because of their ancient
& simplistic design they are reasonably prone to them.
Actually, according to our tests the older 50mm F1.4s show extremely low CA at the apertures we use for camera reviews, and in fact the Sigma is slightly more prone to lateral CA. It's also somewhat less even in sharpenss across the frame than the older designs, presumably a side effect of being optimised for central resolution at large apertures, so wouldn't be as good a choice for this application.

In fact, everything I've done so far fully supports our use of those 50mm F1.4s at apertures around F8 for the DSLR tests.

--
Andy Westlake
dpreview.com/lensreviews
 
Maybe I'm the only one, but when I saw the different shaprness in the
test depending on the camera used and the explanation for it in the
article, I was pretty dissapointed. Basically it means that each test
is a combination of lens and camera resolution plus sensor size,
which in the end defeates the idea to compare lenses. The whole idea
of being able to compare lenses doesn't work any more.

And it makes me see all these lens reviews in a different light now.

--
-------David-------
http://flickr.com/photos/childish/
How do you propose to get more meaningful results?

It would think it to be better if the same bodies were used for all the tests (not 5D in 70-200 test and 1Ds MIII in the latest test) and if 3rd party lenses were tested for each mount with the same bodies as OEM lenses are tested. Thats a lot of tests though, who wants to mull through all that data.

Lenses behave different on different bodies. I just don't see why testing that would be irrelevant.
--

 
The point of a lens test is to be able to make a call about quality in relation to each other. The graphs have the feature to do side by side of lenses for this exact reason.

Regardless of what you test you will always have other factors come in. To be able to get results that are comparable, the only way to do this is to keep all other factors constant. Only then, even if the camera is factored in, the end results will be comparable because the same 'camera factor' is part of all results.

I had great hopes for the lens review on dpreview, but seeing this now makes them far less useful to me.

--
-------David-------
http://flickr.com/photos/childish/
 
However; what about chromatic aberrations... none of the 50mms except
for the Sigma are designed to reduce CAs and because of their ancient
& simplistic design they are reasonably prone to them.
Most of the "ancient" 50mm lenses use symmetrical double Gauss designs, which are famous for low levels of chromatic aberration. The problem with these older designs is not CA but that they can be soft at wide apertures because of spherical aberration. The Sigma 50mm adds an aspherical lens to the design, giving it much better performance wide open than the older 50mm lenses. The addition of the aspherical element is about the only improvement that can be made to the proven "ancient" symmetrical double Gauss design, one reason most camera makers have not updated their old designs for decades. But the aspherical lens element can mean a much higher retail price, as one can see from the list price of the Sigma. BTW, the Leica 50mm f/1.4 Summicron M lens also benefits from the addition of an aspherical lens.
 
Add another third party lens: the Voigtländer Nokton 58mm f1.4 SL II
that looks like it is in the same category but with its own
characteristics. Based on the Sigma and Nokton as tested by Photozone.
The Voigthlander and the Sigma both have an Aspherical lens, giving them better performance at wide open apertures than more conventional designs like the Canon, Minolta, Pentax and Nikon 50mm lenses.
 
And I think it's fair to point out that these are no more than
completely unsubstantiated rumours with (as far as I know) no hard
data whatsoever to back them up; and the idea that ADI info could
make any significant difference to IS does seem to run counter to the
accepted wisdom of how stabilisation systems work (they measure and
correct for tilt angle, which is fundamentally independant of subject
distance).
Actualy, it's pretty solid on what has changed. The Sony was upgraded to ADI just like the 35G. At a quick glance it sounds like nothing, but tearing into it, there is a big differences.

The barrel has been replaced with a new one that has some different features, distance window was changed, and of course the new grip (these don't change the inside much at all, but just show some of how they didn't just rename it).

Side by Side test have shown the coatings and or the glass got some tweaks as the Sony has much less flare than the minolta.

And the biggest change was the ADI, which is a substantial thing to add, an encoder had to be added, which is what drove the barrel and distance window changes, and the circuitry. And yes, ADI is documented as being part of the stabilization. The Sony service manuals for the bodies cover how ADI is factored in. In default mode, the body uses the accelerometers to do some stabilizing, this is how it provides a stop or so of improvement to lenses like M42 lenses that have been mounted with no FL info or anything, you get some results (this bit I don't think is covered much, but has been pretty well determined through experimentation by folks). Next it uses the FL from the lens ID and on zooms the encoder in the lens. This gets computed into the stabilization. If a lens has ADI it will use the focus distance info too, this provides even better improvement, it's just not required to get some improvement. But still it is called out in the service manuals, and might be in some of the books that come with the body or their website too, have to dig for that. But still, it does get factored in.
 
Maybe I'm the only one, but when I saw the different shaprness in the
test depending on the camera used and the explanation for it in the
article, I was pretty dissapointed. Basically it means that each test
is a combination of lens and camera resolution plus sensor size,
which in the end defeates the idea to compare lenses. The whole idea
of being able to compare lenses doesn't work any more.

And it makes me see all these lens reviews in a different light now.

--
-------David-------
http://flickr.com/photos/childish/
This has been the case from the beginning in testing DSLR systems for both cameras and lenses. However after DPreview started lens testing it could have changed its methods of camera testing by using one lens only for every system. Taking out one uncertainty when comparing bodies. The Sigma 70 mm macro is the best candidate for that, highest scores on resolution so less likely to limit high MP FF sensors as well. I'm sure Sigma would be willing to deliver 5 or 6 matching 70mm lenses, each with a different mount. For lenses if they are not tested on an optical bench in the first place, testing could be done on a 4/3 and Canon body. Both allow different brand lenses with adapters, Canon has the highest MP FF sensor right now, OLY probably the smallest pixel pitch.

Ernst Dinkla
 
I totally agree, their resolving power is more than enough, that is
true. Distortions and vignetting should also be under control.

However; what about chromatic aberrations... none of the 50mms except
for the Sigma are designed to reduce CAs and because of their ancient
& simplistic design they are reasonably prone to them.

How about adopting the Sigma 50mm as a standard lens that is
available on most mounts?

That would remove one element of randomness from your tests.

--
Stuart / the Two Truths
http://www.flickr.com/photos/two_truths/
http://two-truths.deviantart.com/gallery/
The Sigma 70 mm macro is a better candidate if I compare several other lens testing sites.

Even the Voigtländer Nokton has better CA than the Sigma, at least at APS C size, see Photozone tests of the Sigma and the Voigtländer. The central resolution of the Nokton is also higher but the difference to the border resolution on FF could be too much despite the new role fast 50mms have on DSLRs according to DPreview. Bokeh seems to be nicer on the Nokton too but that's not on topic in body testing.

Ernst Dinkla
 
I have to agree, after reading the explanation for the "differences" (which actually are not differences at all as it is the same lens!).......I too have to look at the lens test results with a different slant......

Best regards David
 
This is an interesting point and merits a response. First of all I'd like to point out that sharpness is just one of the four major parameters we test, and CA, vignetting and distortion very often have a greater negative impact on image quality than sharpness - it's far from being the sole defining characteristic of a lens.

The perceived sharpness of a lens (as we calculate it using MTF50 in line pairs per picture height) is necessarily different between formats. Essentially, to reach an output of a specific size (be that print or display on a monitor), the image as projected by the lens is effectively magnified further by the smaller sensor. The upshot is that lenses will always look better in the centre on full frame when compared to APS-C; this is a simple, basic fact, and if I didn't mention it in a lens review then I'd be doing something badly wrong.

Now let's look at the influence of different bodies of the same format (e.g. 1DsIII vs 5D). Now the major influence of the camera body on the system sharpness (which is what we measure) comes via the anti-aliasing filter, which in principle is matched to the pixel pitch. The AA filter blurs the image somewhat at frequencies approaching Nyquist, and the upshot of this is that data in our 'blue zone' is generally influenced quite strongly by the AA filter. Our decision to use higher resolution bodies for the 50s simply allows us to measure the sharpness at these frequencies more accurately. However in the regions where the lens is less sharp (which generally tends to be the most valuable data anyway), the body has very little influence at all, and the data is pretty well directly comparable.

It's worth pointing out that all lens review sites which use the camera body for testing have exactly the same problem as we do. Claus at Photozone has chosen to continue using the 350D as his Canon APS-C body; this means his data is highly comparable across lenses, but may not provide such good information on how they'll perform on the higher resolution bodies now available. Equally, the BxU unit used by DxO (SLRGear, DIWA labs) is based on a pixel level measurement of sharpness, so will give different results between different sensor resolutions; this means you can't directly compare, say, a Four Thirds lens on a 10Mp sensor to a full-frame lens on a 13Mp sensor, and this is one of the primary reasons we chose not to use DxO.

We're confident that the units and format that we've chosen to use to display test data give the most transparent and valid comparison across formats, but naturally we encourage all readers to make up their own minds.

--
Andy Westlake
dpreview.com/lensreviews
 
Side by Side test have shown the coatings and or the glass got some
tweaks as the Sony has much less flare than the minolta.
Do you happen to have a link to these side-by-side comparisons?

Thanks!
Prog.
 
A tediously predictable response. Why do you think we'd change our
approach if Canon or Nikon adopted in-body IS? We'd still deal with
it in camera reviews (and not lens reviews).
Why would it change your approach? For the very same reason that you now mark lack of Live-View as a con (see the Sony A700 review) but you didn't when Canon and Nikon cameras (e.g. 30D and D200) were missing this feature. Back then dpreview.com called LV "a solution looking for a problem", but now that the big two offer it (in the 40D and D300), it's suddenly an valid feature and the lack of it is a con.

The same will happen with in-body IS. Only when Nikon or Canon finally offers in-body IS you'll be brave enough to mark the lack of it as a con. Currently, dpreview just doesn't have the guts to vex the big two, which is why tiny "omissions" are marked as cons, but huge glaring one the is lack of in-body IS is left out of the cons list.

Once Nikon or Canon joins the rest of the industry and offers in-body IS, the feature will become con-worthy, and once that happens you'll start mentioning it in footnotes of lens reviews when mentioning image-stabilization.

Prog.
 
Why would it change your approach? For the very same reason that you
now mark lack of Live-View as a con (see the Sony A700 review)
'Lack of live view will be counted against the A700 compared to the competition'

Note that's essentially us saying we don't think it's much of a 'con', but understand that it has undeniable showroom appeal for those upgrading from a digital compact.
but
you didn't when Canon and Nikon cameras (e.g. 30D and D200) were
missing this feature.
Do you mean when it was very much the exception not the norm, and therefore could only possibly be considered a 'pro' on cameras which featured it?
Back then dpreview.com called LV "a solution
looking for a problem", but now that the big two offer it (in the 40D
and D300), it's suddenly an valid feature and the lack of it is a con.
It's just far more widespread. This doesn't make it any more useful in day-to-day uses, and all of the current implementations have fundamental associated problems which make them of limited value. The mere fact that there are almost as many different implementations of LV as there are cameras which feature it suggests that it's a technology which is far from mature, and that manufacturers have widely differing opinions about what it's actually for; in other words, it's a solution looking for a problem.
The same will happen with in-body IS. Only when Nikon or Canon
finally offers in-body IS you'll be brave enough to mark the lack of
it as a con. Currently, dpreview just doesn't have the guts to vex
the big two, which is why tiny "omissions" are marked as cons, but
huge glaring one the is lack of in-body IS is left out of the cons
list.
You're absolutely right of course, we've never written any kind of critical review for a Canon or Nikon product at all. This is why Nikon USA use a quote from Phil in their D300 marketing material, but seem less keen to extract a quote for the 18-200mm they bundle in the same kit.
Once Nikon or Canon joins the rest of the industry and offers in-body
IS, the feature will become con-worthy, and once that happens you'll
start mentioning it in footnotes of lens reviews when mentioning
image-stabilization.
Sorry, but just to re-iterate; only in-lens IS is valid in the context of a lens review.

--
Andy Westlake
dpreview.com/lensreviews
 
And the biggest change was the ADI, which is a substantial thing to
add, an encoder had to be added, which is what drove the barrel and
distance window changes, and the circuitry. And yes, ADI is
documented as being part of the stabilization. The Sony service
manuals for the bodies cover how ADI is factored in. In default
mode, the body uses the accelerometers to do some stabilizing, this
is how it provides a stop or so of improvement to lenses like M42
lenses that have been mounted with no FL info or anything, you get
some results (this bit I don't think is covered much, but has been
pretty well determined through experimentation by folks).
The camera most likely defaults to a focal length and at this focal length,
you get full stabilisation. Using a lens at twice the default focal length,
you'll get 50% stabilisation, i.e. if you shake it four pixels, it will correct
two pixels. Using a lens at less than half the default focal length should give
better performance with SSS turned off, since the compensation will add
more net shake than the original shake (you shake it one pixel, the systems
corrects more than two pixels).

Maybe something for a rainy day, to find out by experimentation what the

default focal length approximately is. Unless it's written in a "service manual"...
If a lens has ADI it will
use the focus distance info too, this provides even better
improvement, it's just not required to get some improvement. But
still it is called out in the service manuals, and might be in some
of the books that come with the body or their website too, have to
dig for that. But still, it does get factored in.
I find that highly unlikely. First, to use the distance information at all,
it needs to establish the camera translation relative to the subject.
But you can only measure the acceleration. When you integrate the
acceleration, the constant velocity component is unknown. The camera
would have to make some wild guesses as to what constitutes zero
velocity. I don't see how it can do that in a generally reliable way.

Secondly, considering how aggressively Sony have advertised their
in-body stabilisation, would they really miss the opportunity to
tell everyone how they've made revolutionary breakthroughs in
camera stabilisation and hide it away in some "service manual"?

Anyway, the way to test this is shooting at close distances, say at
0.5x magnification with lenses with and without ADI and see if
there is a consistent difference over a large number of shots.

A peculiar characteristic would be that the subject in the centre of
focus is sharp but the subjects outside the plane of focus exhibit
motion blur. Not just single cases by chance, but fairly consistently.

Just my two oere
Erik from Sweden
 
This is an interesting point and merits a response. First of all I'd
like to point out that sharpness is just one of the four major
parameters we test, and CA, vignetting and distortion very often have
a greater negative impact on image quality than sharpness - it's far
from being the sole defining characteristic of a lens.
(snip)
We're confident that the units and format that we've chosen to use to
display test data give the most transparent and valid comparison
across formats, but naturally we encourage all readers to make up
their own minds.

--
Andy Westlake
dpreview.com/lensreviews
All valid points but why not add at least an extra resolution test of the bodies with one lens for all ? Gives an anchor point to the relativity of the testing methods, to the OEM lens quality in the other resolution test and to compare bodies to one another and in time.

ColorFoto has similar problems but it recently tested a lot of bodies and lenses again and also changed part of the test method and the test aspect values for their ranking number. Some surprising shifts in camera ranking to the older test method and as far as it can be compared also to DPreview's ranking. One day there will a break in the test methods used when flaws are no longer acceptable or when the emphasis on aspects of image quality shifts in time like it happened in Colorfoto's case.

Lens lists are almost useless when the tests are too body dependent and stretched over a > 4 years period on different bodies. That is no problem yet with recent starters like DPreview and to some extent with Photozone but makes Colorfoto's older and longer list much harder to interpret especially on the smaller brand bodies. But Colorfoto at least tests popular lenses on more models and if possible on different mounts so one gets more information about the lens and at the same time of the different bodies.

Ernst Dinkla
 
All valid points but why not add at least an extra resolution test of
the bodies with one lens for all ?
Becuase all of the 50mm F1.4s we use for testing outresolve current sensors comfortably at the apertures we use.

We've actually looked seriously at the suggestions which are repeatedly made about this, and have (for example) directly compared the 50mm F1.4s to 50mm F2.5/F2.8 macros from each brand. Essentially the results are identical; the lenses are not in any way a limiting factor in camera reviews. In fact with the the 3-dimensional nature of our test shots, depth-of-field and diffraction issues are far more limiting than absolute lens resolution.
Lens lists are almost useless when the tests are too body dependent
and stretched over a > 4 years period on different bodies.
Which is why we've used body-independent units for lens reviews, and explicitly included information about the camera body used including the Nyquist line. It's impossible to be 'future-proof', but we've tried as hard as possible to minimize limitations due to the camera body.

--
Andy Westlake
dpreview.com/lensreviews
 
The Sony version is DEFINITELY different from the latest Minolta version of the 50mm f/1.4, since it not only has updated digital-optimized coatings but also is a "D" lens (communicates ADI-Flash information).

The "D" nature of the lens can be easily checked, when you have 8 contact points between the lens and the body, versus just 5 contact points in a non-D lens. These 3 extra contact points in a "D" lens, communicates more than the flash information, from what I know.

So merely testing an ancient lens (when it has been replaced years back with an updated version), is not very meaningful.
Are you sure that the Minolta is 100% identical to the Sony?
Clearly it isn't (they are cosmetically different for a start) so
we'd call it a 'Minolta 50mm F1.4 review' to avoid any confusion. BTW
it would be surprising for Sony to have recomputed the optical design
so quickly after buying Minolta's camera business, and then not
release it as a new lens, especially given Sony's undeniable
marketing expertise.
Also, in the comparison table in the first page of the review you
wrote that the Pentax 50/1.4 doesn't have image stabilization. This
is technically true
'Technically true' is good enough for me.

--
Andy Westlake
dpreview.com/lensreviews
 
These 3 extra contact points in a "D" lens,
communicates more than the flash information, from what I know.
Please tell?
So merely testing an ancient lens (when it has been replaced years
back with an updated version), is not very meaningful.
Different coatings and the addition of distance information are unlikely to make a major difference to our studio tests.

--
Andy Westlake
dpreview.com/lensreviews
 
You're absolutely right of course, we've never written any kind of
critical review for a Canon or Nikon product at all. This is why
Nikon USA use a quote from Phil in their D300 marketing material, but
seem less keen to extract a quote for the 18-200mm they bundle in the
same kit.
--

I'm not going to say you guys are bias, but I will say I have saw two things on here that miffed me.

First, as I mentioned earlier, you do not highlight the price of the Canon & Nikon 70-200mm's in red in that comparison, but you do highlight the price of the Sigma 50mm in red in this comparison. What is you logic behind that? The $1600 price of Canon 70-200 is such a negative I wouldn't even consider it over to the $800 Sigma 70-200mm even if it is a slightly better lens.

Secondly, in the Pentax K10D & Nikon D200 reviews DPR made a big deal out of soft JPEGS for both cameras. However, on the D200 review you did a separate test with the default sharpening changed to "high sharpening" to make it compare better against the competition for pixel peepers. However, you did not do the same thing for the K10D and made a huge deal of it, bringing down it's overall rating, and mentioning it ever single comparison where the K10D was used. Even though it is a very simple adjustment on the camera that I've seen other review sites change to their liking.
 
First, as I mentioned earlier, you do not highlight the price of the
Canon & Nikon 70-200mm's in red in that comparison, but you do
highlight the price of the Sigma 50mm in red in this comparison. What
is you logic behind that?
The Canon and Nikon 70-200mm F2.8s have major additional features compared to the Sigma and Tamron, i.e. image stabilisation and ruggedised, weather-resistant build, which give them genuinely higher functionality. The Sigma 50mm F1.4 has HSM, but other than that there's little on paper to distinguish it (and note this page is about specifications, not performance).

--
Andy Westlake
dpreview.com/lensreviews
 

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