The CP+ Camera and Photo Imaging Show starts Thursday, which means it is announcement time across the photography world. Next on the list of new products is Sigma, and they’re debuting some very interesting gear – chief among them, two new lenses for Canon, Nikon, and now Sony mounts (more on that in another article). Introducing the Sigma 70mm f/2.8 Macro Art and the Sigma 105mm f/1.4 Art! The macro lens is Sigma’s first Art macro lens, going up to 1:1 (life-size) magnification. Sigma touts the 105mm f/1.4 as simply “The Bokeh Master.” Prices have not yet been announced.
The 70mm f/2.8 Macro
The 70mm f/2.8 is Sigma’s first Art macro lens, and it isn’t quite what you would expect. Rather than today’s common internal-focus design of macro lenses, the Sigma extends out significantly when at its closest focusing distance. And, as a 70mm lens, it won’t have a massive working distance to begin with; about 3 inches (7 cm) or so is common for lenses around this focal length, although it will depend upon the physical size of the lens when extended.
On top of that, Sigma says that the lens will “prioritize optical performance” rather than following the trend of “maximizing autofocus speed.” That is an interesting statement, given that macro lenses in general are quite sharp, especially at close focusing distances. Is this a way for Sigma to gloss over slow focus issues, or is the 70mm f/2.8 truly going to be a sharpness beast? I am hoping for the latter :)
The 105mm f/1.4
First things first about the 105mm f/1.4 – this thing is huge! It has a 105mm filter size, and it weighs 1.6 kilos (3.6 pounds). That’s heavier than Nikon’s own 105mm f/1.4 by about a pound and a half (roughly 600 grams). For that weight, I hope Sigma has something pretty impressive up their sleeves – and, based on the performance of their Art lenses like the 35mm f/1.4 and 24-35mm f/2, they certainly are up to the task.
Also, it’s worth mentioning that Sigma spends a lot of time talking about the bokeh performance on the 105mm f/1.4 – a major requirement for the target audience of the lens. Considering that some of Sigma’s Art lenses in the past have had “good but not great” bokeh as a tradeoff for their sharpness capabilities, it will be very interesting to see if Sigma can pull off both in one lens.
No prices have been announced for either of Sigma’s new lenses. To get a rough sense of where the prices might fall, the excellent Nikon 105mm f/1.4 retails for $2200. The Nikon 60mm f/2.8 macro sells for $600, and Canon’s 60mm f/2.8 sells for $400. This is not to say that the Sigma lenses will fall at these exact prices – in particular, the Sigma 105mm f/1.4 probably will cost less than the Nikon version – but that’s the competition Sigma is up against.
Specifications and Press Release
Here are the specifications for the two new lenses:
Sigma 70mm f/2.8 Macro
- 13 elements in 10 groups
- Rear mount sealing
- 9 rounded aperture blades
- Minimum aperture: f/22
- Minimum focusing distance: 25.8 centimeters (10.2 inches)
- Maximum magnification: 1:1 (life-size)
- Filter size: 49mm
- 70.8 mm diameter x 105.8 mm length (2.8 inches x 4.2 inches)
- Weight: 515 grams (1.14 pounds)
Sigma 105mm f/1.4
- Removable, Arca-Swiss compatible tripod plate
- 17 lens elements in 12 groups
- 9 rounded aperture blades
- Rear mount sealing
- Minimum aperture: f/16
- Minimum focusing distance: 100 centimeters (39.4 inches)
- Maximum magnification: 1:8.3 (0.12x)
- Filter size: 105mm
- 115.9 mm diameter x 131.5 mm length (4.6 inches x 5.2 inches)
- Weight: 1645 grams (3.625 pounds)
And here are Sigma’s press releases:
Sigma 70mm f/2.8 DG Macro Art
Stunning resolution and clarity for a breathtaking visual experience—a razor-sharp macro lens joins the Art line
In recent years, macro lenses in the standard range have tended to employ inner focusing with the goal of maximizing autofocus speed. In contrast, the new SIGMA 70mm F2.8 DG MACRO | Art lens is designed to prioritize optical performance, fulfilling the demanding image quality requirements that define the Art line. In the standard to mid-telephoto range, it delivers stunning resolution and incredible clarity that greatly exceed expectations for a macro lens. The coreless DC motor further enhances image quality, while an optimized algorithm helps offer extremely smooth autofocus performance for a weightier, high-performance lens. Photography enthusiasts will recall a certain legendary, razor-sharp macro lens—the SIGMA MACRO 70mm F2.8 EX DG—and be glad to learn it is available in a new form, updated with outstanding Art line quality.
Key features
1. Design prioritizing optical performance
In order to realize top-level performance at every shooting distance, the lens features an extending, floating, two-group focus mechanism. This configuration minimizes aberration to produce optimal results at any focus distance. To minimize axial chromatic aberration, the optical system incorporates two FLD glass elements, two SLD glass elements, and one element with a high rate of anomalous partial dispersion and a high index of refraction. In addition, two aspherical lens elements help increase resolution at close shooting distances. This optical system makes possible a razor-sharp in-focus area contrasted with a bokeh area free of color streaking.
2. Focus-by-wire system for comfortable and precise focusing
The focus-by-wire system eliminates the direct mechanical connection between the focus ring and the focus drive system. Controlled by SIGMA’s latest algorithm, a newly developed coreless DC motor adjusts focus with optimal speed and low noise. Full-time manual focus is available even during autofocus, allowing the photographer to make minute focus adjustments simply by turning the focus ring. In addition, the focus ring’s large angle of rotation helps the photographer achieve the extremely precise focusing required for effective macro photography.
3. Compatible with full-frame Sony E-mount cameras
The version of this lens compatible with Sony E-mount mirrorless cameras contains the same optical system as for SLRs. SIGMA MOUNT CONVERTER MC-11 is not required, as the lens performs the same functions as the converter, including in-camera image stabilization and in-camera lens aberration correction. In addition, the lens is compatible with Sony’s Continuous AF, which is not addressed by MOUNT CONVERTER MC-11. SIGMA plans to offer over time Sony E-mount versions of every full-frameprime lens currently available in the Art line, from 14mm to 135mm.
Note: This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license agreement with Sony Corporation.
4. Compatible with Canon Lens Aberration Correction
The Canon mount lens is compatible with the Canon Lens Aberration Correction function.* Matching the optical characteristics of the lens, this function performs in-camera corrections of peripheral illumination, chromatic aberrations, distortion, and more, further enhancing image quality.
*Function not available on all Canon cameras. Further, available corrections may vary by Canon camera model.
5. Compatible with ELECTRONIC FLASH MACRO EM-140 DG (adapter required)
Exclusively for SIGMA 70mm F2.8 DG MACRO | Art, the 65mm MACRO FLASH ADAPTER makes the lens compatible with ELECTRONIC FLASH MACRO EM-140 DG (both accessories sold separately). Thanks to the 72mm filter thread, a 72mm MACRO FLASH ADAPTER can also be added so as to accommodate 72mm macro flash products and accessories, including macro flashes other than EM-140 DG as well as ring lights.
6. Compatible with SIGMA TELE CONVERTERS
The lens is compatible with SIGMA TELE CONVERTERS (sold separately) designed for the company’s new lens lines. SIGMA TELE CONVERTER TC-1401 allows the lens to be used as a 98mm F4 mid-telephoto macro with autofocus functionality,* while SIGMA TELE CONVERTER TC-2001 allows the lens to be used as a 140mm F5.6 mid-telephoto macro with manual focus.
*Autofocus available at 0.5m to infinity. *Not available for Sony E-mount lens
Other features
- Mount with dust- and splash-proof design* (*SIGMA mount lens does not include sealing, since sealing is present on compatible SIGMA cameras.)
- Rounded diaphragm
- Fast AF with full-time manual override* (* The operation of full-time MF may vary based on mount type.)
- Compatible with SIGMA MOUNT CONVERTER MC-11* (*SIGMA and Canon mount lenses)
- Available SIGMA USB DOCK makes customization and flexible adjustment possible* (*Not available for Sony E-mount lens)
- Available Mount Conversion Service
- Brass bayonet mount
- Evaluation with SIGMA’s own MTF measuring system: A1
- “Made in Japan” with outstanding craftsmanship
Lens Construction: 13 elements in 10 groups | Angle of view (35mm): 34.3° | Number of diaphragm blades: 9 (rounded diaphragm) | Minimum aperture: F22 | Minimum focusing distance: 25.8cm/10.2in. | Maximum magnification ratio: 1:1 | Filter size: ø 49mm| Dimensions (diameter x length): ø70.8mm x 105.8mm/2.8in. x 4.2in. | Weight: 515g/18.2oz.
SIGMA 105mm F1.4 DG HSM
Introducing the “bokeh master” – featuring incredible resolution and designed for full-frame sensors, this is the longest focal length of the Art line’s F1.4 lenses.
Since introducing its first SIGMA Global Vision F1.4 lens in 2012, the 35mm F1.4 DG HSM | Art, SIGMA has been adding wide-aperture F1.4 options to the lineup. Now, with the introduction of the new 105mm F1.4 DG HSM | Art, SIGMA offers a total of nine lenses with F1.4 brightness, including six for full-frame cameras and three for APS-C cameras. SIGMA has designed all of these lenses to offer minimal optical aberration and deliver incredible resolution and stunning contrast. Boasting the longest focal length of the F1.4 Art line lenses, the new lens combines outstanding resolution with a beautiful bokeh effect. Designed with great care to ensure that both the in-focus and out-of-focus areas of the photograph are equally satisfying to the eye, this lens is truly a “bokeh master.” The SIGMA 105mm F1.4 DG HSM | Art has earned its place as the flagship of the F1.4 Art line lenses, prioritizing image quality above all to fulfill the promise of the line, delivering truly amazing optical performance.
Key features
1. Optical system delivering unsurpassed F1.4 performance
In order to combine outstanding wide-aperture, mid-telephoto performance with F1.4 brightness at maximum aperture, this lens incorporates 17 optical elements in 12 groups—an uncommonly large number of elements for a prime lens. By including three FLD glass elements, two SLD glass elements, and one aspherical lens element, the optical system minimizes axial chromatic aberration to deliver extremely high resolution along with ample peripheral light volume. The area in focus is extremely sharp, while the area out of focus features a beautiful bokeh effect with highly natural colors, making this lens a powerful choice for portrait photography. The optical system also minimizes sagittal coma flare, making this lens excellent for capturing starry skies.
2. Exceptional peripheral brightness
The most effective method of ensuring ample light is to maximize the diameter of the first element of the optical system. With its large filter diameter of 105mm, the SIGMA 105mm F1.4 DG HSM | Art delivers a significantly greater volume of peripheral light than other lenses in its class. Minimizing vignetting while offering a beautiful bokeh effect, this lens is ideal for portrait photography.
3. Professional specifications
Like SIGMA’s Sports line lenses, the 105mm F1.4 DG HSM | Art features a highly effective dust- and splash-proof structure with special sealing at the mount connection*, manual focus ring, cover connection, and other areas, allowing photographers to work in all types of weather. In addition, the front of the lens is protected by a water- and oil-repellent coating that makes cleaning easy. The high-speed, high-accuracy autofocus helps photographers react in an instant to get those special shots.
*SIGMA mount lens does not include sealing, since sealing is present on compatible SIGMA cameras.
4. Ease-of-use specifications
Instead of conventional ABS plastic, the exclusive lens hood features CFRP (carbon fiber reinforced plastic), a light but strong material used in the interior and exterior fittings of aircraft, among many other applications. The removable Arca-Swiss tripod socket is compatible with Arca-Swiss platforms and clamps, and its exclusive protective cover makes the lens easier to carry and use when shooting hand-held.
5. Compatible with full-frame Sony E-mount cameras
The Sony E-mount version of this lens is compatible with Sony mirrorless cameras and contains the same optical system as the versions for other mounts. SIGMA MOUNT CONVERTER MC-11 is not required, as the lens performs the same functions as the converter, including in-camera image stabilization and in-camera lens aberration correction. In addition, the lens is compatible with Sony’s Continuous AF, which is not available via MOUNT CONVERTER MC-11. SIGMA plans eventually to offer Sony E-mount versions of every full-frame prime lens currently available in the Art line, from 14mm to 135mm.
Note: This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license agreement with Sony Corporation.
6. Compatible with Canon Lens Aberration Correction
The Canon mount version of this lens is compatible with the Canon Lens Aberration Correction function.* Matching the optical characteristics of the lens, this function performs in-camera corrections of peripheral illumination, chromatic aberrations, distortion, and more, to further enhance image quality.
*Function not available on all Canon cameras. Available corrections may vary depending on the Canon camera model.
Other features
- Rounded diaphragm
- Fast AF with full-time manual override* (*The operation of full-time MF may vary based on mount type)
- Compatible with SIGMA Mount Converter MC-11 (Note: SIGMA and Canon mount lens)
- Available SIGMA USB DOCK makes customization and flexible adjustment possible* (*Not available for Sony E-mount lens)
- Available Mount Conversion Service
- Brass bayonet mount
- Evaluation with SIGMA’s own MTF measuring system: A1
- “Made in Japan” with outstanding craftsmanship
Lens Construction: 17 elements in 12 groups | Angle of view (35mm): 23.3° | Number of diaphragm blades: 9 (rounded diaphragm) | Minimum aperture: F16 | Minimum focusing distance: 100cm/39.4in. | Maximum magnification ratio: 1:8.3 | Filter size: ø105mm | Dimensions (diameter x length): ø115.9mm x 131.5mm/4.6in. x 5.2in. | Weight: 1645g/58.0oz.
I still think the market will support a 105mm F2.0, 1:2 macro lens, and had hoped Sigma would make one. Oh well…
The 70mm 2.8 macro is appealing and I could use it now, however I’m not buying another F-mount lens until Nikon reveals it’s mirrorless strategy.
We will probably know Nikon’s mirrorless response by Photokina.
Sony has released the A7III, and for only $100 more than the Fuji X-H1, which is APS-C, no smaller than the A7III, and has worse battery life. Impressive!
The MFT on the 105mm does not look to impressive. a lot of fall -off.
Yes, the MTF chart does not look as good as I would have thought, but I’m waiting for real tests to know for sure – the MTF chart and the real-world performance of a lens don’t always tell the same story. If Sigma really is all about amazing bokeh with this lens, that’s another thing to consider.
what about the Zeiss Milvus 2/100M?
For those who like manual focus, why not. And not only like manual focus but being also able to get pinpoint sharpness handheld at portrait distance. So, clearly not me – I’m not capable of doing this.
In a recent interview by DPReview with Mr. Kazuto Yamaki (www.dpreview.com/inter…-beginning) Mr. Yamaki pointed the lens towards astrophotography:
“There’s another reason for our approach to that lens, too. One of the chief designers is very keen on astrophotography, and he wanted to make a lens that was perfect for this kind of photography. Among this community, the Zeiss 135mm F2 is regarded as a benchmark, but it’s relatively slow. Our target was to make a lens with equivalent performance but at F1.4. That’s very difficult.”
I must admit, althougn I still think “tooooo big, tooooo heavy”, this remark tempts me to try it for myself.
I was considering the Nikon, and saving up for a purchase but with this announcement, I will probably rethink the choice pending reviews. It looks pretty impressive….and heavy, no more one-handed shots with my gripped D800…
Joachim.
Point taken. Nonetheless, I suspect that most people wanting a macro are not using it for slide-copying but for insects, flowers etc., in which case I would still maintain the 70mm would be a little too short. I have the Nikkor 105mm Micro and often wish that I had bought the 200mm. In fact, I sometimes use my 300mm with an extension tube fitted and it is really good. The subjects are then far enough away that they are never disturbed by the camera and of course, there is no disturbance of the lighting either.
Same here, I also wanted a longer one and have the 105 Micro Nikkor, as well as I had the 40 mm. That was very good for narrow situations in machinery, where I just had enough space to manoeuvre a D5100 with this short macro and the tilted screen – I needed that shots for technical documentation. And because that little flimsy plasticky lens was so good, I also enjoyed using it for other subjects.
As for the longer FL for Macro: There’s this new Tamron 70-210/4 (tamron.com/news/…80222.html) which has some Macro capabilities and goes down to 1:3,1 (or 1: 1,6 with 2× converter (=420 mm). Of course, a dedicated Macro lens, maybe with APO correction still might be the better if one does a lot macro. But for occasional butterflies and stuff…? I will have a look into it if I find it somewhere to try or to rent.
You obviously have a legitimate, specialised use for such a short focal length macro and I can see how good the 40mm would be for that. For my typical subject matter, the longer focal lengths are much better.
The minimum focus distance of the 105mm is 39.4 inches, not 9.4 inches, which would make it a macro lens!
Good catch, thank you!
Both look very good quality lenses but why on earth produce a full-frame 70mm focal length macro?
This makes some sense on a cropped frame where it will assume an equivalent focal length of 105mm but 70mm on a full frame camera, in my opinion, results in image distances that are far too short. Nikon does the same with its own short focal length macros that, as Thom Hogan says, are great for c/u copy work (and who does that these days?) but very little else. The result of such short image distances is that any live subjects will just be spooked and disappear. If they do hang around to be photographed, they will probably have the shadow of you and the lens across them anyway!
Now if the rather gorgeous looking 105mm were to be a true macro lens, that would be much more interesting.
Well, Nikon has a 40 mm Macro APS-C (Canon maybe as well, dunno). And a 60 mm Macro which I can use to reproduce slides or bw/color negative film. 70 mm is pretty useful – soemtimes I’m happy to get closer to a subhect as there’s not always a lot of space for the camera.
Very happy with the annoucement of the 70mm f/2.8 macro and it’s reproduction ratio marks, it seems to me it is the first lens I see with this feature.
p.s.
I would be happy is Sigma released a 24mm or similar (i.e. 23 or 25mm) APS-C only ART fast prime lens (i.e. 24mm f/1.8), cheaper and lighter than the 24mm f/1.4 DG HSM, and specifically optimized to provide the “35mm Full Frame like” view of the scene. With Nikon, Canon, Sony and Pentax mounts.
Currently available only (slighly expensive) Full Frame lenses :/
Fuji has both the excellent 23mm XF f/1.4 and the XF23mmF2 R WR, for mirrorless but APS-C equipped sensors.
As a limited budget entusiast photographer I see no options today for my APS-C Nikon DSLR, a part the Sigma Art 18-35mm f/1.8, which anyway isn’t so light, neither as cheap as my budget would permit
Sebastiano, do you expect an APS-C lens in Art quality to be a lot cheaper? Sigma only makes f/1.8 if f/1.4 is too difficult, too massive – the 1.645 grams of the 105 are 65% heavier than Nikon’s already very good 105/1.4. We can hope for a price difference, but if I think of a portrait work with an FF body, flash on top and lens in front, the term “work” all of a sudden smells like sweat.
I saw the two samples on Sigma’s website and thought “the bokeh is not really much better than what I’m used from 85/1.4 or 135/1.8 Art, sooooo… well, collector’s reflex is triggered but I hope to resist.”
The 70 mm macro is something I will definitely not resist :)
Hi Joachim,
it may be I’m wrong but I’ve supposed that making (= designing + developing) a prime lens would have been easier, and less expensive, than the Art APS-C 18-35 f/1.8 Sigma (great!) zoom. And that this lens would have been much lighter than 18-15 f/1.8.
In other words, we just have an option for a 24mm f/1.8 APS-C with Art quality, but it’s a bit heavy. I don’t think this lens is expensive respect to what it offers. It is said it well replaces at least three primes: 20mm f/1.8, 24mm f/1.8 and 35mm f/1.8.
I anyway understand that nowadays camera vendors make money with mirrorless most, less with DSLR, so the efforts to make a light lens such that in my hopes could be unsustainable, and so simply this lens will never exist for DSLR but for mirrorless.
I understand this can be slightly OT but it was to say my opinion :)
Regarding 105 f/1.4 I don’t understand why such a heavy/expensive lens can be a plus respect to a lighter f/2.
The very creamy bokeh a part – which can be a penality if you are not able to use this short dof carefully when really wanted – I think the high performances modern sensors reach at high ISO (really high, more than 12800) do not justify to buy/carry such lenses.
I see this lens (and the Nikon’s) for a very small niche of professionals.
Very different with macro lenses.
You’re right, Sebastiano, I just forgot the 18-35/1.8 because your question was about primes. I had the 18-35 when I also used APS-C bodies. To me, the lens was outsanding: Positively because it’s so sharp. Negatively, because soemtimes I didn’t know, to which object I pointed the AF. 18 mm is not superwide, but wide enough to cover a couple of different objects at different distances with one little AF rectangle mark (difficult for me to find the proper words).
If Sigma would make a 24/1.8 APS-C, it’s equivalent (with all my regrets to use “equivalence” because I see it as a misleading idea) to 36/2.7. Nikon makes a 24/1.8 but I doubt that many of it’s owners use it on an APS-C body. They mostly bought it as cheap, but sharp 24 FF. I don’t see the market for such a linited APS-C lens. When I bought the Nikkor 24/1.4, I only used APS-C, but wanted the fastest wide angle lens. There was no f/1.8 version around and I simply had no choice – and I was happy after I bought a D800 years ago – having already FF lenses, reduces the investments after going FF.
I also don’t understand the size and weight of the 105/1.4 in terms of practical use and I agree with the AF-Problem. But this problems also exist in nearly the same grade of complications on a 200/2. Which is even more heavy. So, in a way we should not look at other also great but less fast 105 mm lenses, instead consider that we don’t need a 200/2 VR II (nearly 3kg, bigger diameter, longer and roughly 3× more expensive), for similar bokeh. That’s at least what I hope for. Of course, it’s not a replacement for a longer reach, but bokehwise the two should be in the same league,
The last days I took the 135/1.8 to enjoy it’s bokeh skills. I already found my bokeh master, but I’m looking forwared to coming reviews of the 105/1.4
Hi Joachim,
I own a Nikon 18-35 IF-ED, I bought for my F80 many years ago, so I know well how wide a 18mm on a APS-C is :), and how really wide is on a FF (I still own my first SLR, a Nikon F60).
Even if I agree with you, it might be there is no reasonable market for Sigma or Nikon or others to make a DSLR mount 24 f/1.8 APS-C prime (or similar).
The benefit we would have in case it existed would be:
– it would be lighter and less expensive than FF f/1.4 available (both Sigma and Nikon have in their catalogue), which I never would buy because of my budget
– it could be compact, and really portable.
p.s. I’m not sure I got your point about the issue you had with Sigma 18-35 f/1.8 APS-C but I think you had some focusing problem, right?
Those focusing problems are the mai reason I haven’t sold yet my Nikon 18-35, even if I know I’d benefit from a more modern and Art quality level lens.
I don’t know if I’ll use FF DSLR in the future, the market is really moving to mirrorless even more and more.
Bye, Sebastiano
As for FF: I agree – I stick with FF DSLR at the moment because it’s serving me well. Not because I think its the best I can get. But Fuji mirrorless is also not entirely troublefree to use.
With the 18-35/1.8 I never had AF issues – I had target issues. Too many elements in a too big AF frame. And although you have experience with 18-35 IF-ED, it’s a f/3.5-4.5 lens, meaning, plenty of DoF even wide open. The Sigma wide open is less tolerant to tiny inaccuracies. The D7100 brought the AF of a D600 (or D750?). Contrary to the more pinpoint focus indicator LEDs of a D5100 I really was not very sure where I’m aiming at. For instance, if you look at a fence in a flat angle, there are easily two or three posts in the focus frame. To which of them the AF jumped was unpredictable bit not because of the lens. To master the shallow DoF of the Sigma, the AF frames of the Nikon were the wrong tools.
The 105 will be interesting! We have the Nikon to compare with so I am very curious to the bokeh.
I also see a nice lens mount for monopod attachment so no one has to whine about it’s weight.
Well done Sigma!
Absolutely, we are very excited to test it out! The integrated tripod/monopod foot is a great touch, especially with Arca Swiss compatibility. Hopefully, this means photographers won’t need to go out and buy a replacement foot en masse, as is generally necessary with Nikon’s telephoto lenses.
A “great touch”? Are you serious? That thing weighs over 1600 grs, for a 105 mm.
Ok, a “necessary” touch :)
;-)