Latest sample galleries
Latest in-depth reviews
The Everyday Sling might just be the perfect pack for not carrying too much gear, combining comfort with Peak Design's signature modern style.
As always, our studio tests are backed up by taking hundreds of photographs with the lens across a range of subjects, and examining them in detail. This allows us to confirm our studio observations, and identify any other issues which don't show up in the tests. The Sigma 50mm F1.4 DG HSM fully lived up to the promise shown in the studio tests, performing consistently well at all subject distances and in a wide range of lighting conditions.
We've already seen that the studio test results indicate exceptional sharpness from the Sigma, but what does this look like in real images? The answer is in the rollover below - we've deliberately used an uninteresting composition of an interesting subject to show how central and corner sharpness changes through the lens's aperture range.
Canon EOS 6D, Raw + ACR
What you should be able to see here is that central sharpness is already excellent wide open, and only slightly improves on stopping down. The corner crop isn't quite so good, but is still hugely impressive for a 50mm F1.4 prime. However it essentially catches up with the centre on stopping down to F2.8. There's barely any visible change from F2.8 through to F8, then just the slightest hint of diffraction softening at F11. This becomes more marked at F16, but this aperture should still be eminently usable when extended depth of field is required.
Our studio tests reveal that the 50mm F1.4 exhibits exceptionally low lateral chromatic aberration, with essentially no colour fringing towards the corners of the frame. Our real-world shooting confirms this, and shows that Sigma has also done an impressive job of minimizing longitudinal CA too (i.e. colour fringing around out-of-focus elements at large apertures). The overall result is very impressive - there's scarcely anything to worry about here at all.
The examples below are effectively torture-tests for the two types of CA. The first is looking at lateral CA, and reveals just the tiniest amount of blue/yellow fringing along high-contrast edges in the extreme corners; however you have to look really closely to see it. This is a very impressive result, even by the standards of 50mm F1.4 lenses (which are generally well-corrected for lateral CA).
Lateral Chromatic Aberration
|F8, RAW + ACR, Canon EOS 6D||100% crop, top left|
The second example looks at longitudinal CA, in a situation close to the worst-case scenario (lots of bright chrome against dark backgrounds, with the lens wide open). We've also used an APS-C camera - the EOS 70D - which accentuates the visibility of this type of CA. The image reveals some colour fringing around high-contrast out-of-focus elements - predominantly magenta in front of the plane of focus, and green behind - but for such a fast lens it's actually relatively low.
Longitudinal Chromatic Aberration
|F1.4, Canon EOS 70D||100% crop - longitudinal CA|
|100% crop - magenta fringing||100% crop - green fringing|
The tests show that the 50mm F1.4 exhibits about 1.5 stops vignetting wide open on full frame, which is impressively low for its class ('traditional' 50mm F1.4 designs typically show about 2 stops). The fairly gentle falloff pattern means it's not especially intrusive - in many real-world images it will disappear into the natural variations of brightness across the frame. In fact, in many cases we prefer an image with a touch of vignetting to one without - it can help frame the subject. It's also trivial to correct in post-processing when necessary (but note that any in-camera corrections won't work with this lens).
Canon EOS 6D, F1.4, uncorrected
Canon EOS 6D, F1.4, corrected
In practice you'll probably only really notice vignetting with images that have even-toned areas covering much of the frame - typically this means blue skies. The rollover above compares an image shot at F1.4 on the Canon EOS 6D with a version that's had the worst of the vignetting corrected using Photoshop's generic lens correction tools. Which you prefer is very much a personal choice; there's no inherently right or wrong answer here.
The studio tests indicate that the Sigma shows very low distortion, and this makes it extremely well suited to shooting geometric compositions such as architecture. These days distortion is extremely easy to correct in post-processing, of course, but it's still nice to see a lens that makes this utterly unnecessary. And while this degree of optical correction often comes with some penalty in corner sharpness, this isn't really the case here - the shot below is pretty much critically sharp right across the frame at F4.
|Canon EOS 6D, 1/1600 sec F4 ISO 200|
The example above illustrates the 50mm's near-perfect correction - the roof line has been rendered as close to perfectly straight as you're likely to see. We'd probably apply a little perspective correction to this particular shot to correct the converging verticals, and the lens's impressive cross-frame sharpness means that the image file holds up to this manipulation without any trouble at all (click here to see a geometrically-corrected version of this image).
It's not unusual for fast primes to struggle with flare when shooting into the light - all that glass means there's plenty of surface area for internal reflections. However in our experience the Sigma 50mm F1.4 is impressively resistant to flare, and quite obviously better than older-design 50mm F1.4s. As usual you'll get best results using the hood by default (and it'll also help protect the front element).
In the first example (below left) we've deliberately placed the sun within the frame and stopped right down to F11, which makes any flare patterns resolved and distinct. There's a little radial streaking from the light source, with a few coloured spots across the diagonal from the sun. But there's impressively little effect on shadow detail and contrast.
|Canon EOS 6D, F11||Canon EOS 6D, F2, sun just outside frame|
The second shot illustrates a tricky situation shooting directly into the light, using a relatively large aperture (F2). Here the sun is directly impinging on the front element meaning that the hood can't help at all; traditionally-designed 50mm F1.4s would probably show extreme veiling flare across the image. However the Sigma has handled this very well, without any obvious impact on overall contrast.
One genuinely desirable, but difficult to measure aspect of a lens's performance is the ability to deliver smoothly blurred out-of-focus regions when trying to isolate a subject from the background. The Sigma's fast F1.4 maximum aperture means it can give substantially blurred backgrounds under the right conditions.
For the most part, the lens gives perfectly attractive bokeh too, although it's probably not quite as super-smooth as lenses like the Canon EF 50mm F1.2L USM or Nikon's AF-S Nikkor 58mm f/1.4G (inevitably there's some trade-off for the Sigma's exceptional wide-open sharpness). The examples below give a flavour of how the lens behaves in this regard.
|EOS 6D, F1.4||Background detail|
|Canon EOS 100D, F2||Background detail|
|EOS 6D, F1.4||Background detail|
Overall the Sigma acquits itself well here, with lovely smooth background blur in the close-up and portrait shots. The more-distant background in the third example looks a touch more fussy, although it's still far from unattractive. As always, for best results you should still take some care to choose a suitable background whenever possible, rather than rely on the lens simply blurring everything away for you.
Conventional fast 50mm primes tend to show quite obvious coma and astigmatism - aberrations which cause point light sources towards the edge of the frame to flare out. This can be problematic when shooting such things as star fields of city scapes at night. In the table below we're looking at how the Sigma fares in this respect, by shooting a bright white LED light placed at the extreme right hand corner of the frame using the Canon EOS 6D. We've deliberately over-exposed the light to show the maximum extent of the effect.
Canon EOS 6D, 100% crops from extreme lower right corner of frame
Looking at the F4 crop lower right, you can see the actual size (and circular shape) that the LED is supposed to be. Any flaring out from this at larger apertures is an indication of coma aberration. In the case of the Sigma 50mm, it's really pretty small, and unlikely to be a serious problem in real-world shots.
|US Version, Canon|
|US Version, Nikon|
|US Version, Nikon w/ Filter Kit|
Out of stockTemporarily out of stock. Order now and we'll deliver when available. We'll e-mail you with an estimated delivery date as soon as we have more information. Your credit card will not be charged until we ship the item.
|US Version, Sigma|
In stockUsually ships in 6-10 business days
|US Version, Sony|
In stockUsually ships in 6-10 business days
|Sigma 50mm F1.4 DG HSM Art Lens for Canon Cameras - International Version (No Warranty)|
In stockUsually ships in 1-2 business days
|Sigma 50mm F1.4 DG HSM Art Lens for Sony Alpha Cameras - International Version (No Warranty)||See price on Amazon.com »|
Sigma has announced that five of its Sony E-Mount Art-series primes, announced earlier this year, are now shipping.
Sigma's new sd Quattro H camera carries the company's largest-ever Foveon sensor with a claimed 51MP of equivalent resolution. Check out our samples that range from cherry blossoms to cityscapes and coffee shops to the studio. Read more
Sigma is getting Black Friday started early this year, offering discounts on five of its lenses online now through Monday, November 30th including the 50mm F1.4 DG HSM Art. Savings range from $100 up to $300 off individual lenses - and considering the current results of our readers' poll, a few of you may be interested. Read more
'Conceptual' and 'commercial' photography are styles that relatively few are able to achieve success in, especially at the same time. But Dean Bradshaw’s intellectual and humorous approach to advertorial work sets his portfolio far above that of the typical commercial photographer. Take a look at a selection of his imagery and find out a few insights behind his success in our Q+A. See gallery
At this year's CP+ show in Yokohama Japan we made time to sit down with several senior executives from major manufacturers, including Sigma. In this interview with Kazuto Yamaki, CEO of Sigma, we spoke about the challenges of making lenses for ever-increasing pixel counts, the company's 'small office, big factory' philosophy and why the company is continuing to make cameras. Read more
When the Fujifilm X-T2 arrived, it was more than just a modest upgrade to the already impressive X-T1. While the new X-T3 hasn't changed the overall design of the camera, this model is way more than an upgrade; rather, it's a quantum leap.
The Movie Maker is a compact, motorized slider designed for phones, action cams and small mirrorless cameras. We think it's a fun little kit and a good value proposition for the cost, provided you can work around a few of its weak points.
Nikon's Z7 is the first camera to use the all-new Z-mount, the company's first new full-frame mount since 1959. We've put together our first impressions based on quality shooting time with a pre-production camera - check out what we've found.
What's the best camera for a parent? The best cameras for shooting kids and family must have fast autofocus, good low-light image quality and great video. In this buying guide we've rounded-up several great cameras for parents, and recommended the best.
What's the best camera for shooting landscapes? High resolution, weather-sealed bodies and wide dynamic range are all important. In this buying guide we've rounded-up several great cameras for shooting landscapes, and recommended the best.
What’s the best camera costing over $2000? The best high-end camera costing more than $2000 should have plenty of resolution, exceptional build quality, good 4K video capture and top-notch autofocus for advanced and professional users. In this buying guide we’ve rounded up all the current interchangeable lens cameras costing over $2000 and recommended the best.
|Llyod's Building Elevators by Jonathan Shapiro|
from Your City - Elevators
|Fire Lake by bbadgett|
|Tail Fins...1961 Cadillac Sedan DeVille by J Warren|
from Car Shows 2018
Think Tank Photo has updated its line of heavy-duty rain covers and introduced a new, compact version for emergency situations.
The X-T3 is our first opportunity to analyze what's likely to be Fujifilm's next generation image sensor. Take a look at how it performs next to the competition in our studio test scene.
Canon's new normal is seriously sharp wide open. After shooting with it for a few days, we've prepared a gallery of real-world sample images.
Nikon will cease offering Brazil-based customer service and technical support, though the company stresses that it will still offer technical assistance and warranty repairs for valid warranties.
Two years ago, CatLABS of JP announced a plan to save Packfilm from the dead. Now, it's announced it's giving up its efforts to better focus its resources elsewhere.
The GoPro Fusion is designed to make it easy to capture 360-degree video and stills. We took it out recently on a typically hot Seattle summer day to see what it can do.
We've got our hands on a full-production Nikon Z7 camera and have updated our gallery with additional samples.
A new Kickstarter campaign seeks funding for Chroma Chrono, a programmable RGB camera flash that emits multiple colors during long exposures.
Think Tank Photo has launched a new lineup of six dual-access, water-resistant protective lens cases it calls Lens Case Duo.
Canon and Nikon finally entered the full-frame mirrorless market this summer with the brand-new RF and Z mounts. Now that we've had some time with the cameras, we wanted to revisit our earlier predictions and take stock.
The devices' camera specs look pretty much identical to last year's iPhone X but under the hood a number of important improvements have been made.
Blackmagic Design has announced the public beta of its new Blackmagic RAW video codec. The company says the new format combines the benefits of shooting Raw video with the ease of use and smaller file sizes usually associated with non-Raw video files.
Serif, the company behind the Affinity suite, has announced the latest update for its mobile Photoshop competitor Affinity Photo for iPad.
The Atomos Ninja V external video recorder and monitor will be ready to ship at the end of this month. The 5.2in Ninja V is designed to provide a smaller option, while still offering many of the features of the larger 7-inch models.
Having shot with the camera, spoken to Canon and read the tea leaves, here's what DPR Technical Editor Richard Butler thinks the EOS R tells us about Canon and the RF's mount's future.
After last week's teaser, lighting manufacturer Profoto has announced its 'small big' new product. The B10 is designed to be used as studio flash head but in a very small body, and has a powerful continuous light source for videographers as well.
Konseen has launched Photo Studio, a new light box tent large enough to photograph people, as well as objects.
Seagate has introduced new high-capacity hard drives for Network Attached Storage (NAS) devices: the 14TB IronWolf and 14TB IronWolf Pro HDDs.
The case was first announced earlier this year as a Kickstarter campaign and comes with a range of features aimed at iPhone photographers.
Manfrotto has introduced a new two-in-one tripod to its Befree lineup. Called the Befree 2N1, this new addition is both a tripod and monopod in one and is available with both of Manfrotto's locking mechanisms.
This new high dynamic range editing software comes with an AI-powered Quantum HDR Engine for improved photo merging.
Apple has unveiled the next generation of its iPhone X in the form of three variants: the 5.8" iPhone XS and 6.5" iPhone XS Max with OLED screens, and the 6.1" iPhone XR with an LCD and single rear camera.
Ahead of the launch of the CamRanger II the company has announced a mini version of its wireless remote control system that it says has a longer range than the original in a body half the size.
Lens manufacturer Sigma has announced a trio of fast cinema lenses for full-frame camera systems, that it says will also be available in the future in the LPL mount for Arri’s large format camera system.
LumaPod is a a new tripod being funded on Kickstarter that takes just four seconds to set up and uses patented tension technology to keep your shots steady in a compact design.
X-Rite ColorChecker Video XL is an oversized color target for wide-angle, long distance, and aerial shooting.
ExperimentalOptics has launched a Kickstarter campaign to fund its second lens design, a 35mm F2.7 lens it claims is the world's 'smallest fastest pancake lens.'
The new XF 8-16mm F2.8 R LM WR and XF 200mm F2 R LM OIS WR are aimed at enthusiasts and professionals, and add considerable versatility to Fujifilm's growing XF lens lineup. We've been taking a look.
The Getty family is working to regain control of stock photo agency Getty Images, according to multiple reports published late last week.