Used Sigma Art 85mm 12 Lens Sigma 85mm F14 Dg Hsm Art Lens for Canon Ef

Sigma 85mm f/1.4 DG HSM Art Lens Review

Sigma 85mm f/1.4 DG HSM Art Lens

Peradventure no other Sigma Art series lens was more highly anticipated than the 85mm f/1.4 DG HSM Art Lens. And fortunately, Sigma delivered a great production. This is a beautifully designed lens that delivers very impressive, near-all-time-in-class prototype quality, at a very reasonable price. Though that sentence could aptly be applied to the rest of the Art series lenses, what makes this lens special among the others is the expect information technology provides. That wait is specially corking for portraits and while photographers may first larn it equally a portrait lens, they volition surely find themselves using the 85 Art lens for many other purposes, if for no other reasons than the swell image quality and stiff background blur it can create.

This lens' predecessor, the Sigma 85mm f/i.4 EX DG HSM Lens, was itself a good lens – one of the best 85mm f/one.4 options at its introduction. And then, the new Art lens did not have tremendous strides to take to become 1 of the best always options. From my perspective, it was inconsistent autofocus accuracy that most-limited the EX lens, giving suspension to those because calculation that lens to their kits. Does the 85 Art lens fix that outcome? Determining the answer to that question was high on my to-do list.

Sigma 85mm f/1.4 DG HSM Art Lens Angle View

Focal Length

With a prime lens, you go ane focal length. This ways that prime number lens focal length selection is much more than critical than choosing a zoom lens such every bit 1 of the 70-200mm options. What is the 85mm focal length good for? The standout use of the 85mm focal length is, as already hinted to, for portraits.

The classic portrait focal length range is from 85mm through 135mm (after FOVCF is factored in). An 85mm lens hits the bottom classic range figure on a full frame DSLR and, at a 136mm angle of view equivalent on an APS-C one.6x body, it essentially remains in the ideal portrait range on this format also. An APS-C format DSLR of course requires a longer working altitude to become the same framing as a full frame DSLR (and therefore volition take more depth of field and a less-strongly blurred background at the same aperture).

Move in as close equally moderately-tightly framed caput shots or movement back as far equally yous care to. Without modifying this lens' minimum focus distance, there is no perspective trouble from getting too close and being likewise far away is seldom a trouble.

The "portrait photography" designation is a broad one that covers a broad variety of potential still and video subject framing (from full body to head shots) and a wide variety of potential venues (from indoors to outdoors). Portrait subjects can range from children to seniors and individuals to large groups. Think engagements, weddings, parties, events, families, small groups, senior adults, style, documentary, lifestyle ... all are not bad uses for the 85mm focal length. There is ofttimes adequate space in even a small studio for portraiture with an 85mm-provided bending of view. I take done entire senior sessions with a broad aperture 85mm lens.

Helping to justify the high acquisition cost of this lens is that portrait photography is 1 of the almost-revenue-producing genres and I debate that people are the nearly of import subjects available.

Sigma 85mm f/1.4 DG HSM Art Lens Sample Picture

The immature lady in the above image was standing just nether a porch roof on a cloudy day, a bully scenario for soft lighting. This example also shows what an 85mm f/one.four head shot can look similar.

Regardless of the photographic camera format being used, the 85mm focal length (like nigh others), tin can be used for landscape photography. Some sports, such as basketball, can be captured with an 85mm lens, and this lens can capture such events in very poorly-lit venues including gymnasiums. This focal length also works very well for architecture, products (medium through huge), commercial, full general studio photography applications and a broad range of other subjects.

Sigma 85mm f/1.4 DG HSM Art Lens Front View

Max Aperture

With simply a few exceptions, the f/1.4 max aperture made available by this lens is as broad as DSLR lenses become, with the Canon EF 85mm f/ane.2L II USM Lens existence the most relevant exception. The wider the aperture, the more light that is able to achieve the imaging sensor. Allowing more calorie-free to reach the sensor permits freezing activity, handholding the camera in lower light levels and/or use of a lower (less noisy) ISO setting.

Increasing the opening also permits a stronger, better subject-isolating background blur (at equivalent focal lengths). The shallow f/1.4 depth of field must of class be acceptable to you lot in these circumstances, but shallow depth of field is a highly-desired lens adequacy, first-class for making the subject popular from a blurred groundwork. I can't get enough of the shallow DOF look that draws the viewer's attention to the discipline by eliminating the background distractions. This capability adds artistic-style imaging to this 85mm lens' capabilities list.

F/1.four enables the higher precision AF capabilities (virtually often the heart AF point) in all cameras supporting this characteristic and presents a vivid viewfinder image. This broad aperture is especially valuable later the sun sets, nether shade and when shooting indoors, including indoors using only ambient window low-cal.

Note that, especially under full sun conditions, even a 1/8000 shutter speed will not probable be fast enough to avert blown highlights in f/1.iv images. Utilize of a neutral density filter volition be needed to go on images nighttime enough at f/1.four under such conditions. Shooting with a narrower aperture of course remains an option.

Sigma 85mm f/1.4 DG HSM Art Lens Top View with Hood

Prototype Quality

A useful focal length and broad aperture are swell to have, merely if the lens does not deliver in the image quality section, information technology will not generate much desire to own or use even with those traits. With zoom lenses now delivering what nosotros previously considered prime number-class prototype quality, more than than always we buy prime lenses for their ultra-wide apertures and that off class ways that wide open image quality is paramount. Not that long ago, using a brusk telephoto prime lens at its widest discontinuity meant sacrificing image quality, especially sharpness. Times are irresolute and there has never been a better fourth dimension to be a photographer.

While few of u.s.a. buy lenses to shoot test charts with, the charts are quite revealing to the functioning a lens delivers. The blackness and white chart details make many flaws readily visible. And the skilful news it that the Sigma 85mm f/1.4 DG HSM Fine art Lens rocks this test. This lens performs very impressively at f/i.4 and with a slight dissimilarity comeback at f/2, this lens is basically unphased by the ultra-high resolution of the Canon EOS 5Ds R test camera. All iv farthermost total frame corners appear identical and they are merely very slightly less sharp than the center of the frame. The biggest stopped downward difference seen in the corner is reduction of vignetting.

This lens delivers great image quality and the best reason to finish it down is to gain depth of field if desired.

Moving to a 3-dimensional subject provides a look at sharpness in the field and shows some boosted traits of this lens. The following images were captured in RAW format with an EOS 5Ds R and candy in Canon's DPP using the Standard Picture Style with sharpness set up to "1".

I should point out that sharpening tin completely change the appearance of a lens' performance. Increase the sharpness setting and even a mediocre-performing lens tin appear to deliver abrupt-looking images. However, sharpening is destructive to prototype details and the stop effect is non as good every bit capturing a sharp image in the first place. My standard DPP sharpness setting for the 5Ds R (a natively very abrupt camera) with a precipitous lens is "1" unless I use an aperture narrow enough to show diffraction and in that case, I'll ofttimes become to "2".

The following examples, from the eye of the frame, are cropped to 100% resolution.

Sigma 85mm f/1.4 DG HSM Art Lens Sharpness Comparison Example

There are a few things I desire to point out in these images. The first is that that the f/2 aperture shows a slightly more noticeable increment in contrast over f/one.4 than the chart does. Another attribute fabricated visible here is a very slight shift of the middle of depth of field slightly rearward (picket the left-near bud relative to the top-left details when changing the aperture selection), though the subject remains adequately covered within DOF. Also, the second prepare of examples reveals some color fringing. Await for purple adjoining the foreground twigs and green surrounding the background tree trunks and branches. I'll discuss this event later on in the review. Note that the "Sharpened" f/one.4 samples were given a light high pass sharpening in Photoshop and provide an example of how additional sharpening can affect these results.

Let's accept a look at corner functioning next. These 100% ingather samples are similarly-processed to the higher up and taken from the farthermost bottom right corner of the 5Ds R frame.

Sigma 85mm f/1.4 DG HSM Art Lens Corner Sharpness Comparison Example

Turning in corner results this squeamish places this lens among an elite grouping.

An ultra-broad aperture lens is expected to take some vignetting at its widest apertures, but the approximately two stops of full frame corner shading at f/1.iv is relatively mild. That amount of shading drops to just over 1 stop at f/2, an amount that'due south merely-noticeable in some photos. The shading drops from visibility in nearly images by f/2.8 (nearly 0.half dozen stops). At f/4, the vignetting drops slightly to about 0.4 stops with no further decrease seen at narrower apertures. Overall, this functioning is very good.

It would be much easier to design a lens if the all wavelengths of calorie-free in the visible spectrum refracted identically. But they don't and hence we get aberrations caused by various wavelengths of light being magnified and focused differently.

The easiest blazon of CA (Chromatic Abnormality) to recognize is lateral (or transverse) CA. This aberration shows as different colors of the spectrum being magnified differently with the mid and peculiarly the periphery of the image circle showing color fringing along lines of strong dissimilarity running tangential (meridional, right angles to radii). The periphery of the image circumvolve is most affected as this is where the greatest difference in magnification of wavelengths exists. A typical do good of a prime lens over a zoom lens (at least over the longest and shortest focal lengths in a zoom lens) is a depression amount of lateral CA.

While lateral CA is hands software corrected by radially shifting the colors to coincide, much improve is to have none in the commencement place. And, this lens again shows its optical greatness in this regard, showing a negligible amount of lateral CA. Hither is a 100% almost-extreme corner crop taken from a 5Ds R image. The strong lines of contrast running tangentially will quickly prove this defect and ... in that location is essential no color fringing seen here.

Sigma 85mm f/1.4 DG HSM Art Lens Lateral Chromatic Aberration Example

A relatively common lens aberration is axial (longitudinal, bokeh) CA, which causes not-congruent focal planes of the various wavelengths of light, or more than simply, different colors of calorie-free are focused to different depths. Spherical abnormality along with spherochromatism, or a alter in the corporeality of spherical aberration with respect to color (looks quite similar to axial chromatic aberration, but is hazier) is another common lens aberration to look for, peculiarly in an ultra-broad aperture lens. Centric CA remains at least somewhat persistent when stopping down with the color misalignment effect increasing with defocusing while the spherical abnormality color halo shows little size change as the lens is defocused and stopping down one to ii stops by and large removes this aberration.

In the real globe, lens defects exercise not exist in isolation with spherical aberration and spherochromatism generally found, at least to some degree, along with centric CA. These combine to create a less sharp, hazy-actualization paradigm quality at the widest apertures. These defects are what we saw in the second set of center crops in the sharpness example above. Here is a set that makes this defect more clear (the processing is once again the same as described in a higher place).

Sigma 85mm f/1.4 DG HSM Art Lens Spherical and Axial Aberration Example

Majestic fringing encircles the foreground elements while groundwork elements have green fringing with the amount of fringing decreasing as the aperture is narrowed. The second f/ane.4 example shows a strong case of purple fringing. The aperture range examples also evidence a hint of focus shift every bit mentioned before in the review.

This lens avoids flare quite well. Note that a totally clear twenty-four hours did non happen during my fourth dimension with this lens, but I really wanted a solid flare test and made the most of what was available. The good news is that this lens has standard flare examination results available in the site's tool. The bad news is that there is a slight haze in the sky, potentially reducing flare furnishings very slightly. Still, I call back this lens performs well in this regard.

Comatic aberration, or more-but, "coma", is generally recognized past precipitous dissimilarity towards the center of an image and long, soft contrast transition toward the image periphery. Coma is most visible in broad aperture corners and significantly resolves when the lens is stopped down. The pin-indicate stars in the night sky are the subject that makes this aberration, forth with some others, including astigmatism, most hands recognizable to me. Hither is an extreme top-right 5Ds R f/ane.iv corner ingather captured at 10-seconds (without a tracking mount, but with the camera pointed toward a section of the northern sky where rotational effects are minimized).

Sigma 85mm f/1.4 DG HSM Art Lens Coma

The amount of blackout is balmy with some astigmatism stretching the stars the other management.

One of many skillful reasons to purchase a prime lens (vs. a zoom) is for low linear baloney and that reason applies to this one. The Sigma 85 f/1.4 Fine art Lens shows a negligible corporeality of distortion. Experience complimentary to run straight lines along the edge of the frame as they will show no curvature in the image.

I of the many proficient reasons to buy an 85mm f/1.4 lens is for the background blur that it can create. Forth with the strong blur capability this lens has, the quality of that blur appears nice. Here is an example of out of focus specular highlights in a blurred background.

Sigma 85mm f/1.4 DG HSM Art Lens Bokeh Example

The in a higher place image is a 100% crop captured at f/5.6, illustrating the effect the 9-blade aperture has on paradigm results. Though the blades tin can exist clearly seen at this sample, the overall shape of the highlights is relatively circular and, aside from a smudge showing near the heart, they are very smoothly filled.

Point light sources captured with a narrow aperture will show xviii-point stars that tin can wait like this:

Sigma 85mm f/1.4 DG HSM Art Lens Specular Highlight Star Example

From an overall image quality standpoint, this lens performs very well with broad aperture centric/spherical/spherochromatism issues being the merely downside worthy of consideration.

Sigma 85mm f/1.4 DG HSM Art Lens Side View on Camera

Focusing

To date, all Sigma Art lenses characteristic HSM (Hypersonic Motor) driving AF and this statement covers the 85 f/1.4 Art Lens. This lens' predecessor also had an HSM AF organisation, but according to Sigma's printing release, "A re-engineered AF system brings 1.3X the torque of its predecessor, while other features such as a full-time manual focus override have been added, which can be controlled when the focus ring is rotated, fifty-fifty during continuous AF."

Without doing a side-by-side comparison, I can't tell if that "torque" deviation is noticeable, but autofocus happens reasonably chop-chop with curt distance changes. Focus at three' (1m) and so at 20' (6m) and you will not likely consider the word "fast" for a descriptor as you wait for the bailiwick to come into focus. Especially in lower lite levels, some small autofocus distance adjustments are frequently made after the initial focus conquering, increasing the overall AF lock times of even shorter distance adjustments. While this lens may non be the fastest-focusing model available today, information technology focuses fast enough to exist adequate for well-nigh intended uses.

You can check off the serenity focusing checkbox for this lens. Even in a quiet environment, simply a tranquility shuffling ("shhhh") is heard during focusing. Focusing is internal and FTM (Full Time Transmission) focusing is supported (unless intentionally disabled using the Sigma Dock).

With an ultra-broad aperture telephoto lens being able to produce very shallow depth of field, AF system accurateness takes on increased importance – far more importance than autofocus speed to most of us. A mis-focused image heads straight to the trash can virtually of the time and AF accuracy operation testing is ever a high priority for me. Every bit I mentioned at the beginning of this review, AF accuracy was the biggest detractor from the predecessor EX model lens, heightening my sensitivity level to this issue on the new one. After capturing over 600 tripod-based images of diverse subjects strictly for the purpose of testing AF, each capture starting in an out-of-focus condition, I plant that this lens focuses consistently accurately. Not every image is perfectly sharp, but a very considerable percent of them are. Expect peripheral AF points to be slightly less accurate than the centre, but they are nevertheless working generally well for me.

When photographing at near minimum focus distance such equally for head shots, this lens has extremely shallow depth of field. And then shallow that even the eyelashes are modestly out of focus if the iris is in sharp focus or vice versa. I point this out now because, if handholding this lens for portraits, you and the bailiwick are not perfectly motionless. And, you may focus on the eye, but the camera gets to decide if the eyelashes or the iris are the subject, adding some boosted variability. Both you and the subject should probably then concord your breath because even the footling bit of motion that activity causes tin have precise focus off of your subject'south heart.

My advice is to not avoid, but seek out these shots because they look crawly. However, you might desire take multiple photos to ensure that you go the one you want. Of course, if the bailiwick'southward face isn't square to the camera, the other eye volition be out of focus. Focus on the closer eye and don't worry virtually the sharpness of the other.

As illustrated earlier, the 85 Art has a small amount of focus shift rearward as it is stopped downward. Most will not find the amount to exist a problem and of class, there is no shift at f/i.iv.

Focus calibration is also a fundamental to authentic focusing and compatibility with the Sigma Dock (more than afterward) ensures that this issue, if it were to exist, can exist easily resolved. Cameras with the autofocus microadjustment feature also have the ability to accommodate scale in-camera.

When this lens' focus distances are changed significantly, look subjects change size a noticeable amount. While this attribute is non unusual, photographers intending to use focus stacking techniques involving focus distance aligning should be aware. Videographers pulling focus are sometimes also concerned well-nigh this attribute. When critical framing is necessary, focus should be fine-tuned while adjusting subject distance.

Sigma provides a small depth of field scale on the focus distance window of this lens, though f/8 and f/16 are the simply marks provided.

The 85 Art lens' transmission focus ring is ... massive. This ribbed 2.6" (67mm) long, 3.vii" (95mm) bore ring consumes much of the length of the lens. You will take no problem finding it. Although very big in the hand, the focus band is very shine, has no play and has ideal resistance. The 142° of rotation provides for ideal transmission focusing precision over the entire focus distance range.

The 85 Art lens breaks no ground in regards to MFD (Minimum Focus Distance) and the related MM (Maximum Magnification). This lens performs essentially the same as the other wide aperture 85mm prime options – and below average for lenses in general.

Model MFD MM
Canon EF 85mm f/i.ii Fifty II USM Lens 37.iv" (950mm) 0.11x
Canon EF 85mm f/1.4L IS USM Lens 33.5" (850mm) 0.12x
Nikon 85mm f/one.4G AF-S Lens 33.5" (850mm) 0.12x
Samyang 85mm f/1.4 Lens 39.4" (1000mm)
Sigma 85mm f/1.iv DG HSM Art Lens 33.5" (850mm) 0.12x
Sigma 85mm f/1.four EX DG HSM Lens 33.5" (850mm) 0.12x
Sigma 105mm f/i.4 DG HSM Art Lens 39.iv" (1000mm) 0.12x
Sigma 135mm f/1.8 DG HSM Art Lens 34.4" (875mm) 0.20x
Sony Atomic number 26 85mm f/1.4 GM Lens 31.5" (800mm) 0.12x
Tamron 85mm f/1.8 Di VC USD Lens 31.5" (800mm) 0.14x
Zeiss Otus 85mm f/one.4 Lens 31.five" (800mm) 0.13x
Zeiss 85mm f/1.4 Milvus Lens 31.v" (800mm) 0.12x
Zeiss 85mm f/ane.four Classic Lens 39.4" (1000mm) 0.10x

The following image was captured at this lens' MFD.

Sigma 85mm f/1.4 DG HSM Art Lens Maximum Magnification Example

The tufted titmouse sitting on the basket is about 6" (150mm) in length. The bird is obviously not filling the frame, but ... the lens focuses close enough to create a nice prototype with the shallow f/1.4 depth of field making the bird the clear subject despite the busy scene. This 5Ds R photo was captured handheld at 1/200 (ISO 200), so ... this is potentially not showing the ultimate sharpness this lens can attain, but I thought this image'southward Sharpness = "ane" results looked very adept at 100% and thought you might appreciate seeing another existent-life issue. The "Sharpened" example had a low-cal high pass sharpening practical to information technology in PS.

You lot may find yourself wanting to focus closer than this lens natively permits and a adept option for making the shorter focus distance possible is via extension tubes. By positioning the lens farther abroad from the photographic camera, extension tubes permit the lens to focus at a closer distance, increasing MM, simply infinity and long altitude focusing are sacrificed with an ET in apply.

This lens is not compatible with Sigma teleconverters, another pick commonly used to increase MM.

Sigma 85mm f/1.4 DG HSM Art Lens Front View on Camera

Build Quality & Features

With the Global Vision series, Sigma introduced a modern, classy-looking, tightly-dimensioned, high-quality design for their lenses and those basic design qualities continue to exist infused into each new GV lens. These lenses feel as great as they look, a feature that increases their fun-to-utilise factor.

Sigma 85mm f/1.4 DG HSM Art Lens Compared EX Lens

While the most recently introduced Sigma EX lenses are dainty and they are a major improvement over their predecessors, the GV lenses are nicer nevertheless. The paradigm above shows the EX predecessor to the left of the 85mm Art lens. The enormity of the focus ring becomes more apparent in this comparison, every bit does the overall size increase of this lens.

Sigma 85mm f/1.4 DG HSM Art Lens Product Images

As I've already mentioned the focus altitude window and covered the barrel-consuming focus band, at that place is not much left to talk about in the product images. Remaining is the AF/MF switch that, like the remainder of the Art lenses, has a white groundwork indicator when in the AF position. The switch is firm and slightly challenging to change with gloves on. There is sufficient space on the fixed barrel to grasp the lens when mounting or dismounting it from the camera and a nearly 180° section of the butt is mold-ribbed to facilitate this chore.

This lens has some atmospheric condition sealing, including a rear gasket seal as seen below.

Sigma 85mm f/1.4 DG HSM Art Lens Mount

The Sigma 85mm f/1.4 Art Lens seems very well synthetic, but this is a big lens. An 85mm total frame lens with an f/1.four discontinuity requires significantly large lens elements, but this ane is among the biggest.

Model Weight Dimensions westward/o Hood Filter Year
Canon EF 85mm f/1.2 L Ii USM Lens 36.ii oz (1025g) 3.vi x 3.3" (91.v x 84.0mm) 72mm 2006
Canon EF 85mm f/1.4L IS USM Lens 33.5 oz (950g) 3.five x four.1" (88.6 x 105.4mm) 77mm 2017
Nikon 85mm f/i.4G AF-S Lens 23.3 oz (660g) three.four x 3.three" (86.2 10 84.0mm) 77mm 2010
Samyang 85mm f/1.4 Lens eighteen.2 oz (516g) 3.1 x 3.1" (78.0 ten 78.0mm) 72mm 2011
Sigma 85mm f/ane.4 DG HSM Art Lens 39.9 oz (1130g) iii.7 x 5.0" (94.7 10 126.2mm) 86mm 2016
Sigma 85mm f/ane.four EX DG HSM Lens 25.6 oz (725g) 3.4 x 3.4" (86.iv x 87.6mm) 77mm 2010
Sigma 105mm f/i.iv DG HSM Art Lens 57.9 oz (1640g) 4.6 ten 5.2" (115.ix x 131.5mm) 105mm 2018
Sigma 135mm f/1.viii DG HSM Art Lens 39.nine oz (1130g) iii.6 x 4.5" (91.four x 114.9mm) 82mm 2017
Sony FE 85mm f/one.4 GM Lens 28.9 oz (820g) 3.5 x 4.2" (89.5 10 107.5mm) 77mm 2016
Tamron 85mm f/i.eight Di VC USD Lens 24.7 oz (700g) 3.three ten three.6" (84.8 ten 91.3mm) 67mm 2016
Zeiss Otus 85mm f/i.iv Lens 42.iv oz (1200g) 4.0 ten 4.9" (101.0 x 124.0mm) 86mm 2014
Zeiss 85mm f/1.4 Milvus Lens 45.ii oz (1280g) 3.5 ten 4.4" (90.0 x 113.0mm) 77mm 2015
Zeiss 85mm f/1.four Classic Lens 20.1 oz (570g) 3.0 x three.4" (77.0 x 86.0mm) 72mm 2008

While the latest two Zeiss 85mm f/ane.four lenses are slightly heavier and wider than the 85 Art lens, the Sigma is slightly longer than both of these. For many more comparisons, review the complete Sigma 85mm f/i.iv DG HSM Fine art Lens Specifications using the site's Lens Spec tool.

In addition to the 85 Art lens being big in your mitt, you are going to feel the weight of this lens when using it for long periods of time, though it is not crazy heavy. In utilize, the inertia provided by the weight makes it easy hold the lens steady. In use on a tripod, this lens will cause even a good tripod head to sag slightly (it most needs a tripod ring for better balance).

Lining upwards many of the lenses from the above table makes it easier to visualize their size differences. Note that these lenses are aligned on their mounts and that the Sigma Art lens has a shallower lens cap, making it announced to exist positioned college than the others.

Sigma 85mm f/1.4 DG HSM Art Lens Compared to Similar Lenses

Positioned to a higher place from left to correct are the Zeiss Classic, Canon Fifty, Nikon, Tamron, Sigma EX, Zeiss Milvus, Zeiss Otus and, rising in a higher place the residue, the Sigma 85mm f/ane.4 DG HSM Art Lens.

The same lenses are shown below with their hoods in place.

Sigma 85mm f/1.4 DG HSM Art Lens Compared to Similar Lenses with Hoods

To fit all of those lenses into one reasonably narrow paradigm fabricated each lens rather small, but much larger comparison images are available using the production image comparing tool. I preloaded that comparison to get you started and hither is another that y'all may find interesting.

Sigma 85mm f/1.4 DG HSM Art Lens Cap

I take a lot of filters in my kit, but none are 86mm as required by this lens. I'm sure that I am non alone in this regard and for us, filters, if desired, will be an additional expense. And, these large filters are non the least expensive out there. I do have a 95mm circular polarizer filter in my kit and could opt for an inexpensive footstep-upwards filter adapter ring to meet this demand. Equally I mentioned earlier in the review, those wanting to use f/1.iv on a sunny twenty-four hours may need at least a 2-finish ND filter.

Sigma 85mm f/1.4 DG HSM Art Lens Angle View with Hood

The 85 Art lens ships with a lens hood included. This hood is large in size, affording a squeamish amount of protection to the lens from both bear upon and flare-inducing low-cal. The hood is strong molded plastic-constructed with just a slight amount of flex (expert for absorbing impact). The interior of the hood is ribbed to avoid reflections and a small portion of the outside mount area is rubberized for easier grip.

Sigma 85mm f/1.4 DG HSM Art Lens Case

Sigma Art lenses come in a nicely padded, double-zippered case. A shoulder strap is provided, merely a chugalug loop is not.

Sigma 85mm f/1.4 DG HSM Art Lens on Tripod

Sigma Global Vision and the USB Dock

Sigma's Global Vision lenses get a classification of "A", "C" or "S", representing a principal Sigma-intended utilize of "Artistic", "Contemporary" and "Sports". A full description of these categories tin be found in the Sigma 35mm f/i.4 Art Lens press release.

Sigma has been introducing some very dainty lenses in the Global Vision serial, only I accept never been a fan of the narrow categorization construction. This of course is an "Art" lens and as such, gets an "A" stamped in a classy chrome circumvolve on the lens butt. Don't limit the lens' use to its letter designation.

Sigma Dock

A great feature of the Global Vision lenses is compatibility with the Sigma Dock. The dock, working in conjunction with the Sigma Optimization Pro software, allows the lens' firmware to exist updated (bug fixes, compatibility updates, feature enhancements, etc.) and allows precise autofocus calibration at four distances. FTM focusing can also exist disabled/controlled via the dock. Hither are some screen grabs showing some of the functionality.

Sigma 85mm Art Lens Dock Compatibility

The focus calibration values were prepare for illustration purposes only.

Price and Value

While the price of this lens is reaching into the mid-tier of lenses overall, it seems similar a deal to me. The optical performance compares to or exceeds that of lenses costing far more and that AF is included gives it a great advantage over many of those competing near strongly on the optical front.

The Sigma 85mm f/1.iv DG HSM Art Lens is bachelor in Catechism (reviewed), Nikon and Sigma mounts and this qualifies for Sigma's Mountain Conversion Service in case y'all alter your heed. My standard disclaimer: At that place are potential bug with third political party lenses. Since Sigma reverse engineers (vs. licenses) manufacturer electronics and algorithms, at that place is always the possibility that a DSLR torso might not support a (likely older) 3rd party lens. Usually a lens can be made compatible by the manufacturer via a firmware update, merely this cannot be guaranteed. There is likewise the hazard of a trouble that results in the lens and torso manufacturers directing blame at each other. Compatibility with the Sigma USB Dock is risk reducing as Sigma tin release firmware updates for dock-compatible lenses. Sigma USA'southward four-twelvemonth warranty is superior to Canon's standard ane twelvemonth warranty (Sigma's international warranty is also 1 year).

The review lens was acquired retail/online.

Sigma 85mm f/1.4 DG HSM Art Lens Side View with Hood

Alternatives to the Sigma 85mm f/1.4 DG HSM Art Lens

Almost major lens manufacturers offer at to the lowest degree one ultra-wide aperture 85mm lens and that ways there are many lenses the 85 f/ane.4 Art Lens can be compared to.

The commencement I'll address is the Canon EF 85mm f/1.2 L Two USM Lens. While the Canon has a 1/three stop wider aperture, the Sigma handily beats information technology in sharpness at f/1.4 with less axial/spherical aberration and holds the border through f/4. The Canon has electronic manual focusing, extends with focusing and has ane less discontinuity bract (8 vs. the Sigma'due south ix). The Canon has slightly more distortion and slightly less vignetting when stopped down. The Canon is slightly lighter, is noticeably shorter, uses smaller filters and is considerably more expensive.

The next lens I'll compare the 85 Art to is this lens' predecessor, the Sigma 85mm f/one.4 EX DG HSM Lens. I liked this lens a lot, though I constitute its AF consistency to go out me wanting. I'g finding the new lens to be much improved in that regard. The Fine art lens is even sharper than the besides-skillful-performing EX, peculiarly in the mid and periphery of the image circle, including stopped downward a couple of stops. The EX lens is smaller, lighter, not-dock compatible and, if yous can still find it on the shelf, modestly less expensive. The Art version is well worth the difference in cost.

Zeiss currently has 3 85mm f/1.iv lenses in its lineup, the Classic, the Milvus and the Otus. While all three of these lenses are extremely well built, none offers autofocus, a pregnant Sigma advantage for many purposes. The prices of the Zeiss lenses compared to the Sigma range from slightly higher (the Classic), to essentially higher (the Milvus) and on upwards to extremely higher (the Otus).

From an prototype sharpness perspective, the Sigma outperforms the Classic, is slightly sharper than the Milvus and even challenges the Otus. Note that the Otus we tested was slightly soft in the upper correct portion of the frame, causing it to slightly underperform in this comparison. Compare the good corners and the Otus is at to the lowest degree as good. Compare axial/spherical/spherochromatism performance and the Otus comes out on pinnacle, followed by the Milvus with the Sigma trailing these other 2 lens. The Sigma shows less vignetting at f/i.4 than the Milvus and slightly less than the Otus and Classic, but the Zeiss lenses have slightly less at narrow apertures.

The Zeiss lenses utilize approximately twice as much zoom ring rotation to comprehend the similar focus range. The Sigma weighs twice as much every bit the Classic and slightly less than the Milvus and Otus. The filter size comparing is 72mm for the Classic, 77mm for the Milvus and the 86mm size is shared past the Sigma and the Otus.

Tamron does non field an f/1.iv entrant in the 85mm comparing, but their 85mm f/1.8 Di VC USD Lens holds another reward – vibration control. If the subject is not moving, the Tamron is able to be handheld in much lower light levels than the f/i.4 options. The f/1.4 lenses can stop action in lower lite levels and can create a stronger background mistiness. In a perfect earth, we would not have to choose between these options, but today ... this choice must be made.

From an image sharpness perspective, the Sigma is sharper in the center of the frame at f/i.iv than the Tamron is at f/ane.viii and remains and so even when stopped down a flake. The Tamron has slight pincushion distortion. The Sigma has less vignetting until f/v.6 where they equalize and I found the Sigma to focus accurately more consistently than the Tamron. The Tamron is smaller, lighter, uses smaller 67mm filters, has a slightly higher MM and has a noticeably lower cost tag.

Sigma 85mm f/1.4 DG HSM Art Lens Top View

Summary

With impressive 85mm f/one.4 epitome quality in a beautiful, well built lens with autofocus and a reasonable price, this is the portrait lens that a lot of photographers have been waiting for. While the Sigma 85mm f/1.four DG HSM Art Lens, overall, is one of the greatest 85mm lenses ever made, the lack of prototype stabilization and fleck of axial CA/spherical aberration/spherochromatism leave the door cracked open up simply slightly for a competitor to one-up it. Just, for now and for most people, this is the 85mm lens to get. Well-nigh, if not all, of your portrait and other 85mm needs will be well served with this lens.

Bringing y'all this site is my full-time job (typically sixty-lxxx hours per week). Thus, I depend solely on the commissions received from you using the links on this site to brand any purchase. I am grateful for your support! - Bryan

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Source: https://www.the-digital-picture.com/Reviews/Sigma-85mm-f-1.4-DG-HSM-Art-Lens.aspx

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