Most camera manufacturers are currently offering a number of deals and rebates this summer to promote their products. Nikon has already been promoting its DSLRs with instant rebates and free camera grips and now new lens-only rebates are added to the list. Fuji has also extended a number of instant rebates for its APS-C cameras like Fuji X-T2 with a free grip option, in addition to other cash rebates. Other manufacturers like Sony and Sigma are also offering great rebates for their camera gear. To sweeten up the deals, B&H is also pitching in their part by giving 2% back in rewards. Below you will find the best deals we could find for our readers from these manufacturers.
It is no secret that I love using ultra wide-angle lenses for my landscape photography. I was especially excited when I received the new Sigma 12-24mm f/4 DG HSM Art lens just before I departed for my winter Iceland workshop. It has an amazing 122-degree angle of view at 12mm. Many photographers have a difficult time using ultra wide-angle lenses correctly when composing a scene. Why? The simple answer is that they do not get close enough to their subject.
Ever since Sigma decided to revamp its line of lenses with its “Art”, “Contemporary” and “Sport” editions, we have seen a number of innovative lenses from the company, some of which claimed the “world’s first” title. Sigma has been working hard on producing fast, high-performance and durable lenses for Nikon, Canon and Sigma mounts at very attractive price points, allowing the company to quickly grow and establish itself as a reputable lens manufacturer. Today, the company revealed yet another amazing set of lenses in the form of Sigma 14mm f/1.8 DG HSM Art, 135mm f/1.8 DG HSM Art, 24-70mm f/2.8 DG OS HSM Art and 100-400mm f/5-6.3 DG OS HSM Contemporary – four lenses designed specifically for full-frame cameras.
More Photokina announcements are rolling in today and this time it is Sigma, with its headline-grabbing releases of upcoming Art and Sport-series lenses. With stellar lens designs such as the 35mm f/1.4 Art and 50mm f/1.4 Art lenses, we have been waiting for Sigma to release an 85mm f/1.4 Art lens for quite sometime now, so Sigma has finally delivered. The new 85mm f/1.4 Art promises to be a superb lens both in terms of sharpness and bokeh. Although Sigma is yet to provide MTF charts and lens construction images, the fact that there is no aspherical element in the lens design is an indication of the lens being optimized to yield pleasant-looking bokeh without onion rings, something that has plagued other Art-series Sigma lens designs. Its price is a bit steep at $1,199 MSRP, but it is still $400 cheaper than its Nikon counterpart.
One of the most exciting news from today is Sigma’s announcement of the 50-100mm f/1.8 DC HSM Art lens designed for APS-C sensor cameras like the Nikon D500. That’s another f/1.8 constant aperture zoom lens from Sigma with a groundbreaking design! With an equivalent field of view of 75-150mm, this lens will surely be a popular choice among sports and portrait photographers, especially when working in low-light situations. Thanks to the complex optical design that incorporates 21 elements in 15 groups, the Sigma 50-100mm f/1.8 DC HSM Art is optimized to yield excellent sharpness at its widest aperture throughout its zoom range. And with its MSRP of $1,099, this looks like a killer offering for cropped sensor cameras. The only downside is its weight – at 1,490 g (3.28 lb), the lens is almost as heavy as the Nikon 70-200mm f/2.8G VR II! But what did you expect from a constant aperture f/1.8 telephoto zoom lens?
At long last they’re all out, in stock and making every aspiring wildlife photographer on a budget scratch their head and wonder which one they should own? Of course I’m talking about the Tamron 150-600mm f/5-6.3 VC, the Sigma 150-600mm f/5-6.3 DG Contemporary and the Nikkor 200-500mm f/5.6E VR. These three budget super telephoto zoom lenses compete with each other directly at their price points, reach and heft; but the big question remains – how do they stack up optically? This was my quest when looking at the three lenses: I wanted to find out which of the three deserves the crown as the best budget-friendly super telephoto zoom. Let’s take a look at the lenses in more detail.
Although Tamron pioneered the release of the first 150-600mm lens, Sigma followed suit by releasing two versions of lenses with exactly the same focal length and aperture ranges. The smaller and lighter version, the Sigma 150-600mm f/5-6.3 DG OS HSM Contemporary (the one we are reviewing today), targets the same market as the Tamron 150-600mm f/5-6.3 Di VC USD, while the much larger and heavier “Sport” version is something unique to Sigma, with no other equivalent competing offers from any other manufacturer. Being able to reach 600mm without spending a lot of money has been a big dream of many wildlife photographers on a budget, because anything close to the 600mm range typically translates to a very large expense – as much as $12K for the latest generation 600mm f/4 lenses. While the current 150-600mm lenses cannot offer the maximum aperture of f/4, they give a huge focal range to work with, which can be particularly useful when photographing subjects at varying distances. As many 600mm prime lens owners know, shooting with long glass is not an easy task due to both weight and atmospheric haze concerns. Such lenses can be quite limiting when the action is close, such as when photographing bears in Alaska, or taking pictures on an African safari. For such occasions, many pros love the 200-400mm f/4 lenses, because they give that flexibility to shoot action at both close and long distances. However, the high cost and the weight concerns are still there, making such lenses prohibitive for budget-conscious enthusiasts and pros who prefer shooting hand-held. And that’s when the 150-600mm lenses come to the rescue, offering great performance in a lightweight and relatively low-budget package. At just over $1K and a total weight of 1930 grams (4.25 pounds), the Sigma 150-600mm f/5-6.3 DG OS HSM Contemporary is a very attractive lens for sports and wildlife photographers. In this review, we will be taking a closer look at this lens and compare it to the Tamron 150-600mm lens that we previously reviewed and loved.
While the new Zeiss Otus 28mm f/1.4 seems like a wonderful chunk of glass for those who do not mind a 1.35 kg beast, Sigma has just released its new 20mm f/1.4 Art-series lens, which is a much wider lens, while being as fast as the Otus. In fact, Sigma claims this one to be another “world’s first” as far as the focal length and the aperture – the next fastest lens is the Nikkor 20mm f/1.8G. With its MSRP of $899, the Sigma 20mm f/1.4 Art is only $100 more than Nikon’s excellent 20mm f/1.8G, so the big question is, is 2/3 of a stop worth the $100 premium Sigma is asking for? Well, the answer to that question is not so simple, because there is a lot more than just stops involved here. Sigma’s 20mm f/1.4 Art is completely different optically compared to the Nikon. First of all, we are dealing with a lens that has more superior optical glass inside, with 5 low-dispersion, two ultra low-dispersion and two aspherical lenses. One of those aspherical elements is particularly difficult to make, because it is a “double” aspherical lens with a large 59mm diameter. Essentially this element was the reason that Sigma was able to produce a 20mm f/1.4 – something no other manufacturer was able to achieve to date. So in a way, we can consider the Sigma 20mm f/1.4 to be in a different class of its own when compared to the Nikkor 20mm f/1.8G. However, there is one major pitfall – due to the large element on the front of the lens, it cannot take any regular screw-on filters!
Ever since Sigma announced their new direction with reorganizing new lenses into three different “Contemporary”, “Art” and “Sports” product lines, the company has been successfully rolling out a number of truly groundbreaking lenses. We were blown away by the optical quality of the Sigma 35mm f/1.4 Art lens, which topped our lens charts as one of the sharpest lenses we have seen to date. Then we welcomed the updated Sigma 50mm f/1.4 Art and were quite inspired by world’s first f/1.8 constant aperture zoom lens, the 18-35mm f/1.8 Art. Earlier this year, Sigma announced yet another addition to the “Art” line of lenses, again in the “world’s first” category, the Sigma 24-35mm f/2 DG HSM Art. Built on the concept of the 18-35mm f/1.8 Art, the 24-35mm f/2 was redesigned to cover the full-frame image circle, while maintaining the superb optical performance. The result was a larger and heavier lens, but one that was to challenge primes from 24mm to 35mm focal lengths. Set on to go head to head with such primes specifically, the biggest question I had was – could this lens actually optically challenge prime lenses? If it performed well optically, that’s a single lens which could potentially replace such lenses as the Nikkor 24mm f/1.8G, 28mm f/1.8G and 35mm f/1.8G in a single package – a rather tough challenge, as those lenses are quite strong performers on their own.
Sigma has just announced world’s first large aperture full-frame wide-angle zoom lens with a constant aperture of f/2, the Sigma 24-35mm f/2 DG HSM Art. Built on the concept of the already successful Sigma 18-35mm f/1.8 DC HSM Art lens for APS-C cameras, the 24-35mm f/2 Art offers similar advantages to full-frame camera shooters. With this announcement, Sigma challenges other prime lenses between from the 24mm to the 35mm range, claiming that this one lens can replace them all and offer the same quality and sharpness in a single, versatile and convenient package. The lens will be available for Nikon, Canon and Sigma mounts and at this time, there is no word yet on the pricing.