Sigma 14-24 f/2.8 ART Review with RAW downloads


I review the Sigma 14-24 f/2.8 a fast, wide and MUCH cheaper wide angle lens than Canon 16-35 f/2.8, Nikon 14-24 f/2.8 and Sony 16-35 f2.8 competitors. What's the catch? Watch for my complete review of Sigma's newest ART series Wide Angle lens.

Buy the Sigma 14-24 f/2.8 from B&H Photo $1199.00

Travel with me on awesome adventures and share your opinion while I test gear!

Sigma 14-24 f/2.8 ART Series Sample Photos

Download FULL RAW Files from Sigma

Sigma 14-24 f/2.8 ART Versus Tamron, Canon, Sony, Nikon Wide Angle Lenses

Tamron 15-30 f/2.8 VC $1099 | Buy from B&H Photo

PRO: Cheaper, Offers Stabilization (VC) and a longer range (30mm)
CON: Not as sharp, starts at 15mm (which is actually closer to 16mm) and has slightly more distortion

Sony 16-35 f/2.8 GM $2198 | Buy from B&H Photo

PRO: Noticeably lighter, accepts regular filters, covers a long range, slightly sharper in corners
CON: Not sharper in the center at f/2.8, COST!

Canon EF 16-35mm f/2.8L III USM $1899 | Buy from B&H Photo

PRO: Noticeably lighter, accepts regular filters, covers a long range, sharper in center
CONS: more vignetting at f/2.8, COST!

Nikon AF-S NIKKOR 14-24mm f/2.8G ED Lens $1896 | Buy from B&H Photo

PROS: I struggle to come up with any compared to the Sigma
Cons: Not as sharp across the range as the Sigma, COST!

What else would you like to know?

Review - Sony 12-24 f/4 and SUPER WIDE NISI Filters

A review of the Sony 12-24mm f/4, an affordable ULTRA wide lens and share the setup of one of the best wide angle filter systems on the market. The NISI system offers full coverage on wide angle lenses like the Sony 12-24mm f/4 and they make additional filter system for other wide angle lenses.

Sony 12-24

Sony 12-24

NiSi S5 150mm Filter Holder with Circular Polarizer

NiSi S5 150mm Filter Holder with Circular Polarizer

Venus Optics Laowa 15mm f/2 FE Zero-D Lens for Sony E

Venus Optics Laowa 15mm f/2 FE Zero-D Lens for Sony E

Alternative Wide Angle:

Venus Laowa 15mm f/2.0

Sample Images

IRIX 11mm f/4 - Affordable Ultra Wide & Rear Filters Suck

A review of the ultra wide-angle 11mm f/4 lens from Irix. This fully manual lens delivers impressive results for the cost but those rear filters SUCK.

Irix 11mm f/4.0

Irix 11mm f/4.0

IRIX 15mm f/2.4

IRIX 15mm f/2.4

Irix Edge Gelatin Filter Set

Irix Edge Gelatin Filter Set

The IRIX 11mm f/4 Blackstone lens is a great deal for those wanting to shoot wide angle. As with the 15mm IRIX we reviewed last year it comes in the metal built Blackstone version and plastic Firefly. Optically they are the same lens, you'll just get a better build quality with Blackstone. For the price point, it's a great lens, the corners look great wide open at F/4 for distortion and there's very little chromatic aberration. It's nice to use with a handy stop for infinity built into the focus ring, which you'll be using frequently with a lens this wide. The only complaint so far is the rear filters, which we recommend you picking up a set of Nisi filters instead. The IRIX 11mm f/4 Blackstone is a manual focus lens, but for the price, it's the best option at the moment.Buy the IRIX 11mm f/4: the IRIX 15mm f/2.4: the Irix 15mm f/2.4 ReviewRear Filters from IRIX:

Sigma Announces 14-24mm F/2.8 Art Full-frame Lens

SIGMA 14-24mm F2.8 DG HSM ArtWe're 2/3rds of the way through the lens trinity with Sigma announcing the new Sigma 14-24mm f/2.8 DG HSM Art Lens. A full-frame design, this should be an excellent lens for shooting landscapes, interiors, and stars. Designed to work with 50MP cameras. Near zero distortion (less than 1%) and minimal chromatic aberration is the claim. The Sigma ART line has impressed photographers for several years now and I expect this lens to be a serious winner.With the recently released 24-70 Art, we're just waiting on a 70-200mm lens at this point. The 14-24mm lens currently only available in Canon, Nikon and Sigma SA mounts, Sony owners must use an adapter like the Sigma MC-11 adapter for now.  There are strong rumors that in just a few months Sigma will announce FE mount versions of many of their lenses.SIGMA 14-24mm F2.8 DG HSM ArtThe Sigma 14-24 Art features Sigma's Sports line of dust and splash proofing with a seal at the mount. Build for high-speed, high accuracy autofocus. This should be a great option for those wanting to capture close up sports and action shots.Another exciting announcement is the introduction of the front mount conversion service for the Sigma 14-24mm F2.8 which allows the lens to be used in multicam productions, e.g., VR rigs. The exclusive front round component minimizes the risk of interfering with other cameras and eliminates undesired shadows in the content.We're one step closer to the lens trinity from the Sigma Art line and this likely represents an excellent option for Canon photographers and Nikon user looking to save over the current Nikon 14-24 f/2.8 that costs nearly $1900.

Preorder Coming Soon at B&H

Canon Mount | Nikon Mount

Sample Images

[gallery ids="17506,17507,17508"]


Lens Construction
17 Elements in 11 Groups
Angle of View
Number of Diaphragm Blades
9 (rounded diaphragm)
Minimum Aperture
Minimum Focusing Distance
26 - 28 cm10.2-11.0 in
Maximum Magnifications
Dimensions (Diameter x Length)
ø96.4mm x 135.1mm3.8in. x 5.3in.
Canon, Nikon, Sigma

The Best Lenses for Photographing the Stars & Milkyway

Star Photography

Full Frame Prime Lens Options

★ Sigma 14mm f/1.8 Watch my video review - $1599.00 (autofocus)

  • Widest aperture lens at this focal length (allows for shorter exposures and or exposures with low ISO shooting the stars, Milky Way and Aurora Borealis
  • Sharp, minimal distortion
  • Autofocus (versatile during the daytime)


  • Expensive
  • Some Coma on brighter stars, wide open
  • Heavy with bulbous front end

Despite some Coma wide open, this is the BEST lens you can buy for shooting the stars - nothing else is this sharp, this fast. Watch my video review for more information and sample images. 

★ Irix Firefly 15mm f/2.4Watch my video review - $400 (manual focus)

  • Sharp, minimal distortion
  • Locking focus ring
  • Glowing Lens markings for night time shooting
  • Focus click at infinity
  • Customizable focus


  • Uses 95mm filters

I struggle to come up with anything bad to say about this lens. Sure it uses 95mm Filters and all but the thinnest filters will add some vignetting but it is one of the only lenses on this list that even takes screw on filters. It is very easy to work with in the dark, the locking focus ring and the click stop at infinity focus are helpful when shooting the stars. It is as sharp as the Sigma too! All of this for just $400!

★ Rokinon 24mm f/1.4$429 (Manual Focus) 

  • Faster Aperture
  • Full Frame compatible
  • Takes Filters
  • Lovely walk around focal length for general photography


  • On crop 24 = 36mm, less exciting for wide starry skies
  • Manual focus only

On a full frame, 24mm is often plenty wide enough for a nice starry sky or milky way shot. At f/1.4 this is a fast lens, is useful for daytime landscape shots with a normal filter size of 77mm but manual focus only does limit the versatility of this lens and it isn't the sharpest option here.

Samyang 10mm f/2.8 ED AS NCS CS Lens$429 (Best Option for Crop DSLRs)

  • 16mm on Crop - nice and wide


  • Crop Only
  • No filter threads - Costly filter system for daytime use

The widest & best option for crop users on the list (I don't love the fisheye look for stars or milky way photos) This small, light and affordable lens is hard to beat but the slightly faster IRIX firefly is sharper and offer some nice features that make it worth the sacrifice of a few mm.

★ Rokinon 8mm f/3.5 HD Fisheye Lens with Removable Hood$232 - $299

  • This lens is VERY wide with the typical fisheye look
  • Very affordable.


  • Crop Only
  • No filters
  • f/3.5
  • Fisheye even more limited in use.

I don't love the look from a fisheye lens for the stars or milky way shots but if you do this would be the lens to grab.  The good news, it is super affordable!

★ Rokinon 12mm f/2.0 NCS CS$299 - $399 (Best for Mirrorless APS-C or smaller)

  • Very portable
  • Takes filters
  • Fast f/2.0


This tiny lens is great for mirrorless crop sensor photographers shooting Sony, Fuji, Panasonic or Olympus. It takes filters, is very affordable and lightweight, not quite as sharp and offers a little more distortion than the IRIX or Sigma but excellent still.

Ultra Wide Angle Zooms

(see linked video below)

★ Tokina 11-16 f/2.8$430 Best value ultra wide angle zoom for crop sensors

  • Versatile lens
  • Excellent Value
  • Accepts 77mm Filters


  • Some distortion and Chromatic abberation
  • Not as sharp as the primes listed

The Tokina 11-16 for Canon and Nikon is one of the best value lenses on this list. It's not the sharpest and certainly has more distortion than the primes but it is a versatile lens with a good range and offer autofocus along with filter use making it possible to tackle a variety of situations.

Additional Lenses to Consider - 

Canon EF 16-35mm f/2.8L III USM Lens - Sharp, fast and relatively little distortion for an ultra-wide zoom lens and accepts regular filters AND is travel-friendly. - B&H Photo for $1,999.00Tamron SP 15-30mm f/2.8 Di VC USD - One of the few ultra wide full frame lenses that offer stabilization. If you are careful you can handhold this at almost a second exposure. Not really helpful for stars/Milkyway but still useful. More distortion and not as sharp as the Canon listed above or the Nikon listed below but still a versatile lens . though be aware it's HEAVY - B&H Photo for $1,099.00Nikon AF-S NIKKOR 14-24mm f/2.8G ED Lens - The gold standard for ultra wide angle zooms.Incredibly sharp and useful though it is big and heavy - B&H Photo for $1,896.95


Related Videos

Affordable Ultra Wide Angle Zooms for Crop Cameras

Canon 10-18 vs Canon 10-22 vs Tokina 11-16Learn more about the Tokina 11-16 vs the Canon 10-18 and Canon 10-22

Hands-on - NEW Sony Lenses 16-35 f/2.8 and 12-24 f/4

Sony has just announced two new lenses and I have had early access to both, shooting on an a7RII and a9 and have sample photos and thoughts below.

The Sony FE 16-35mm f/2.8 GM Wide-angle Zoom Lens

This nicely rounds out Sony's f/2.8 offerings (16-35, 24-70, 70-200 - the f/2.8 trinity) and looks to be an excellent lens.  I was impressed with edge to edge sharpness, lack of vignetting and smooth bokeh.   Most lenses in this category have 9 aperture blades, the new FE 16-35 f/2.8 has 11.  This lens is seriously sharp - Sony is designing it with future ultra high resolution sensors in mind. It is dust and moisture resistant too. Below are a few sample photos I shot.   Lens will be available in late August. Price $2,199  PREORDER from B&H Photo[gallery td_select_gallery_slide="slide" link="file" ids="14849,14848,14847,14846,14845,14844"]I do love the focus hold button included on G Master lenses -  its primary function is to lock focus when recomposing, but you can customize to a number of other functions depending. In addition to Focus Hold, custom functions include: Eye AF, AF On, Aperture Preview, Shot Result Preview or Bright Monitoring.Additional 16-35 f/2.8 Specs -

  • Weather Sealed Design
  • Product weight (oz): 24 oz (680 g.)
  • Product Dimension (L*W) inch: 4.875” x 3.5” (121.6 x 88.5mm)
  • Nano AR Coating
  • ED glass w/ multi‐coating reduces chromatic aberration

Currently the Canon 16-35 f/2.8 III sells for $1,999 - I expect this Sony lens to be sharper when we compare them side by side. Make sure you subscribe to the my Youtube channel to get updated news and comparisons when this lens is released.

The Sony FE 12-24mm F4 G Ultra Wide-angle Zoom Lens

Sony surprised us with this small, unassuming ultra wide angle lens.  I can't quite believe how compact and lightweight it is while still providing full frame coverage of 12-24!   Weighing just over a pound and nicely fitting in your hand the 12-24 provides a constant f/4 aperture, focus hold button and integrated/fixed lens hood.   It does have a bulbous front element requiring an adapter to use filters.   While it doesn't seem quite as sharp as the GMaster 16-25 f/2.8 it still provides very good sharpness and nothing else offers this wide a view on full frame at this size and weight unless you go with a prime lens.  You could use an adapter with the Sigma 12-24 but that lens weighs twice as much and is significantly larger.   The lens will be available in Late July for $1,699 PREORDER from B&H Photo[gallery td_select_gallery_slide="slide" link="file" ids="14854,14853,14852,14851,14850,14860"]Additional 12-24 f/4 G Specs

  • Weather Sealed Design
  • Product weight (oz): 20 oz (680 g.)
  • Product Dimension (L*W) inch: 4.625” x 3.5” (117.4 x 87mm)
  • 7 Bladed Aperture Design
  • Super ED and ED glass w/ multi‐coating reduces chromatic aberration
  • Customizeable Focus Hold button

Canon offers an 11-24 f/4 lens for $2,699 and it is larger and heavier. Sigma offers a slightly cheaper model but as mentioned it too is a good bit heavier and bulkier, also not weather sealed.  Once the lens is released I will make comparisons and publish the results here and on Youtube.Pre-order these lenses at B&H:

Samyang Announces 2 Auto-Focus Lenses for Sony FE Mount!

Photocredit ( (Also branded Rokinon, Vivitar, Bower etc) are a brand that we really like, they've been delivering optically fantastic lenses at incredible prices with one large tradeoff - they've always been manual focus.The current 14mm is our pick for "Best Budget Lens for Stars"  see our review hereNow Samyang has announced two Full Frame Sony E Mount lenses - an Ultra Wide-Angle 14mm F2.8 and a 50mm F1.4.We're very excited about these lenses, if they've managed to produce lenses that have good auto-focus on Sony bodies, with the existing high level of optical quality AND keep the prices reasonable - these are going fly off the shelves.Below is the full press release - we of course are hopign to get our hands on one to test for you.Press Release from Samyang's website"May 3rd, 2016, Seoul, Korea – The global optics brand, Samyang Optics ( today announced the long-awaited launch of two autofocus lenses: 14mm F2.8 and 50mm F1.4 lenses for Sony E mount Mirrorless cameras with full frame sensor size. The new 14mm and 50mm are the widest and brightest lenses in their classand offer superb quality images to photographers. This launching expands the boundaries of Samyang Optics photo lens line-up from manual focus only, to now include autofocus lenses. Optimised Optical Design as Full Frame Mirrorless Camera LensBoth 14mm F2.8 ED AS IF UMC and 50mm F1.4 AS IF UMC are specifically designed to work in harmony with full frame mirrorless cameras in Sony E mount. The flow of light is devised based on the uniqueness of the distance from glass to sensor in mirrorless cameras to create optimal performance. Along with portability of mirrorless lenses, the 14mm F2.8 and 50mm F1.4 are compatible with full frame sensors to deliver the wideness and sharpnessof image to photographers.The 67mm filter diameter brings the maximum amount of light into the lens to create the best work of light in photography. The 14mm F2.8 is the widest angle available in the market and the F1.4 of 50mm and F2.8 of 14mm apertures are by far the brightest of full frame mirrorless lenses, offeringa beautiful bokeh effect and the best quality images under various exposure conditions.Based on Samyang Optics’ exceptional optical technology, aspherical lenses have been included in both lenses to minimise aberration and unnecessary light dispersion, delivering high resolution from the centre to the corners of the image.AF Performance and Ergonomic Design Based on Class-Leading TechnologyThese new products will be the first autofocus lenses in over 40 years of Samyang’s class-leading core optics technologies. Samyang has captured the essence of world leading image technology with their manual focus lenses and reinterpreted it into autofocus lenses. Photographers now can enjoy the prime manual lens image quality and autofocus lens. These new 14mm F2.8 and 50mm F1.4 are compatible with both phase detect and contrast detect sensors to operate fast and accurate focus detection.The 67mm filter diameter is also the result of years of R&D for best handling, by adding stability to the photo-taking experience. Also the minimal and sleek design and metal-housing solidify the build quality with the internal focus system.These two new autofocus lenses from Samyang Optics will be exhibited at the Photo & Imaging 2016Show in Seoul, South Korea. The lenses will be globally available from July 2016. Further details, pricing and availability will follow.More information will be released soon onSamyang Optics official website (, Facebook page ( andInstagram ( /samyanglensglobal)."

Wide Angle Lenses for Real Estate Photography

Guest post from fantastic photographer and friend Steve Scurich

Shooting Real Estate with 24mm Tilt Shift, Canon 11-24 f/4 and Canon 16-35 F/4

So, I’ve recently rented a couple of lenses for some real estate photography jobs and wanted to share some of my thoughts…  To begin with, I am by no means an expert in equipment, settings or technical knowledge on this subject matter.  I am simply a guy who loves photography and makes a living photographing residential and commercial real estate, portraits and corporate events in the greater Santa Barbara, CA area.  Since that’s now out of the way, here are a few thoughts and example images.

" a Real Estate Photographer, I reject a lot of client's ideas about “removing” items from a scene, unless they are not permanent..."

For the past couple years, I’ve been using my Canon 24mm TS/E f3.5L lens on almost all my real estate photography assignments.  In fact, I’ve become so comfortable and happy with it, that I even use it on most landscape shoots when on a tripod.  It has awesome optics and I love how easy it is to compose my shots without much tripod adjustment.  I use the shift function all the time, and very minor tilt adjustments to simply straighten lines without losing too much focus above or below.  Also, it’s a fun lens to create the “miniature effect”, especially in large architectural spaces or urban landscapes….not for work, just play.  My work flow with this lens is usually like this: Choose an angle and set up my tripod fully extended (I use an Induro AT114 with RRS BH50 ball head), level the camera using the ball head bubble level, swivel camera to desired composition (this usually involves physically moving forward/backward slightly since the lens is a prime), shift TS/E up or down to frame composition, select focal spot and 10x zoom on Live View to manually focus, zoom out, select meter spot and take 5-7 exposures, usually -2, -1, 0, +1, +2.  Post production is usually a merge in LR with minor PS edits if needed.  It should be noted that as a Real Estate Photographer, I reject a lot of client's ideas about “removing” items from a scene, unless they are not permanent, to avoid any misrepresentation when marketing the property.  Selecting a good angle and processing a quality photograph is much more effective anyway.Having said all that, I can practically do this workflow in my sleep.  It’s what I know and I haven’t felt too pinched by a 24mm lens in most common area rooms.  Now that I live and work in Santa Barbara, CA however, a place where a 3bd/2ba 1300 sq ft home can easily sell for $1-10 Million depending on location;  I have found a need to use a super wide angle lens, especially in smaller bed/bathrooms.  I had been reading some great reviews on Canon’s new 11-24mm f/4L lens, so I rented it for a couple jobs.  First thing I’ll say is that it is HUGE, and heavy.  My gosh, what a beast-of-a-lens! That out of the way, it really is top quality and amazing.  Being a prime user primarily (see what I did there?), I constantly forgot to zoom in/out when using the 11-24mm….it was usually set around 11-13mm and I conducted business as usual (with the exception of TS/E).  If I had it permanently in my bag, the forgetting to zoom certainly wouldn’t have been an issue, but I’m not sure I truly utilized all it was capable of.  What I did notice though, is that I only selected about 50% of the angles I shot on the 11-24mm vs. my 24mm TS/E.  It has world class optics sure, and is totally impressive at the edges considering how wide it is, but it was extremely sensitive to angle distortion if my camera was not perfectly level on the tripod.  If too much ceiling was showing and I needed to “shift” down, the tripod adjustments started.  If too much floor showed and not enough ceiling, up went the center column, and so on.  Angling the lens up/down was just not a good option unless I wanted to spend hours in Manual Profile Lens Corrections - auto corrections are just okay for me.  In other words, it’s a finicky lens and needs to be treated with respect, patience and care (especially the very bulbous front glass).  Which brings me to another disappointment, lens filters.  I’m not sure what options are out there now for the 11-24mm, but I know my 82mm ND 9-stop filter certainly won’t work.  The lens hood is fixed in place and the lens cap covers both the lens and hood ends.  Did I mention it’s a beast-of-a-lens…?  In small spaces, with my tripod lowered to a height I found to be useful in most rooms, this lens was a dream.  Capturing a vast view from a patio, or framing up as much land around a property as possible, the 11-24mm is perfect.  Beyond that, I much prefer my 24mm TS/E.

My job is to entice a feeling of being able to visualize yourself living in a room, not to take your kids to the bending circus mirrors at a local carnival.

Another thing worth mentioning is that when I did use the 11-24mm in smaller spaces, it was a bit challenging framing up 3 walls vs. 2 as I usually do.  This could very well be due to my being a novice with super wide angle lenses, but I was just not happy with the distortion of angles on most shots.  All ceilings became “vaulted” and floors became sloped.  The images kind of screamed out, “Hey, the photographer obviously used a wide angle lens to try and make the room look bigger than it is!”  My job is to entice a feeling of being able to visualize yourself living in a room, not to take your kids to the bending circus mirrors at a local carnival.  Many of my 11mm shots were cropped down to 2 walls, probably about 16-20mm….and this brings me to my conclusion.If I had tons of money and could afford an array of pro lenses in my bag, I’d definitely buy the 11-24mm, no question.  My write up may seem a bit negative, but it’s an amazing lens and with more time and practice, I know I’d fall in love with it.  It is temperamental and requires a new way of composition framing, for me anyway, that can be really good down the road, but a headache when a client is moving from room-to-room, staying out of frame and waiting for me to finish photographing his/her property.  I am, however, not made of money so I need to consider my alternatives that can help in the small spaces or vast landscapes, and not cost more than an international photography safari with McKay Photography Academy - besides, I’d rather put my hard earned money there anyway…  So what do I do?  For me, it’s simple.  Canon 16-35mm f/4L IS.  I’ve played around with this lens recently and for a 1/3 of the cost of the 11-24mm, my wallet is wide open Canon.  Sure, the 11-24mm can possibly differentiate yourself from the competition as a professional real estate photographer, but let’s face it….if you’re splitting those hairs, you’re probably able to afford it.  The optics of the 16-35mm are great, it’s plenty wide enough for what I like to accomplish, it’s light and easy to carry, and my 77mm (or 82mm with step-down ring) filters fit right out the gates.  I’m still in a love affair with my 24mm TS/E, but for wider angle shots, I’m using the 16-35mm f/4L IS.Oh, I should probably mention that I’ve spent good time with Canon’s 17mm TS/E f/4L too, but with some of the problems I had with the 11-24mm (bulbous lens front, no filters, expense, etc.) while also being very disappointed in the clarity.  It’s getting a little long in the tooth, similar to the 17-40mm or 16-35 f/2.8 lenses.  The combination of my Canon 24mm TS/E f/3.5L and 16-35mm f/4L IS is just what the real estate photography doctor ordered.

Gear Mentioned

Canon 11-24 f/4 Lens- Buy from B&H Photo $2,999.00Canon 16-35 f/4 Lens- Buy from B&H Photo $999.00Canon 24mm f/3.5 TS/E - Buy from B&H Photo $1,899.00 (Watch a hands-on with Steve's tilt shift in Iceland)Canon’s 17mm f/4 TS/E - Buy from B&H Photo $2,189.00Induro Tripod - Buy from B&H Photo $129.00  Really Right Stuff Head $400.00

Sigma Adds Full-Frame 20mm f/1.4 Lens to Art Series

Sigma 20mm f/1.4Sigma's excellent ART series lenses come in a 24mm f/1.4, 35mm f/1.4 and the 50mm f/1.4 focal lengths, and now, if you felt like 24 wasn't quite wide enough, you are in luck- Sigma has just released the 20mm f/1.4.  This is the first 20mm f/1.4 lens designed for full-frame cameras. This wider focal length is well-suited to landscapes, astrophotography, event shooting, and low-light work.What I can't figure out though - The difference between 20mm and 24mm focal length is slight, very slight. Was there such demand for a wider version of the 24mm that Sigma felt compelled to make this? I am sure it will be a sharp lens as ALL the other Sigma Art lenses are. We own the 35 and 50 and love them. I review the 24mm f/1.4 and found it to be excellent.  I am just surprised that the next ART lens Sigma released is so close to an existing lens.  What I am really saying here is "I WANT THE SIGMA ART 85MM!!!" and I am not excited about other Sigma lenses until I get what I want! Maybe a 135mm f2, that might get me excited.  How about you - what Sigma ART series lens would you like to see next?The 20mm f/1.4 DG HSM Art lens will be available in Canon EF, Nikon F, and Sigma SA mounts for $899Buy from B&H Photo or Amazon (support my work by using those links to preorder) \ Available Mid NovemberSigma Press ReleaseTruly wide and truly fast, the Canon EF mount 20mm f/1.4 DG HSM Lens is a member of the venerable Art series of Global Vision lenses from Sigma and pairs a sophisticated optical design with a robust physical construction. Comprised of 15 elements in 11 groups, the lens design includes both “F” Low Dispersion (FLD) and Special Low Dispersion (SLD) glass to significantly reduce chromatic and spherical aberrations, as well as limit distortion for clean, sharp, and evenly illuminated imagery. A Super Multi-Layer Coating has also been applied to minimize surface reflections, flare, and ghosting for increased contrast and color accuracy. The wide focal length and consistent image quality make this lens especially suitable for landscape, interior, architectural, and astrophotography applications, while the fast f/1.4 maximum aperture deems it ideal for natural and low-light shooting.Complementing the optical performance is an equally adept Hyper Sonic Motor, which provides fast, smooth, and near-silent autofocus performance. This focusing motor also enables full-time manual focus override at any time just by rotating the focus ring for refined manual control and focusing as close as 10.9″. The lens barrel is constructed using a Thermally Stable Composite material, which supports working in a wide variety of temperatures and conditions, and the lens mount is constructed from brass for long-term durability and mounting accuracy. Additionally, this lens is also compatible with the optional Sigma USB Dock for fine-tuned control over focusing parameters and other lens characteristics.

  • As part of the Art line within Sigma’s Global Vision series, this lens’ is designed to achieve truly notable optical performance and is ideally suited for creative and artistic applications.
  • Prime wide-angle 20mm f/1.4 lens is designed for full-frame format Canon EF mount DSLRs, and can also be used with APS-C models where it will provide a 32mm equivalent focal length.
  • Fast f/1.4 maximum aperture is well-suited for working in low-light conditions and also provides greater control over the focus position when using shallow depth of field techniques.
  • Both FLD glass and five SLD elements have been incorporated within the lens design to correct for chromatic aberrations throughout the entire focusing range and help to ensure high image sharpness, clarity, and contrast regardless of focus point or aperture setting.
  • A Super Multi-Layer Coating has been applied to lens elements in order to minimize lens flare and ghosting and contribute to producing contrast-rich and color-neutral imagery, even in backlit conditions.
  • The integrated HSM (Hyper Sonic Motor) realizes quick and quiet autofocusing, which is further complemented by an optimized AF algorithm to produce smoother focusing performance. The HSM also permits full-time manual focus control simply by rotating the focus ring at any time.
  • A rounded nine-blade diaphragm helps to produce an attractive out-of-focus quality.Petal-shaped lens hood helps to reduce lens flare when working in strong lighting conditions and also offers some protection to the front element of the lens.
  • The lens is constructed using a Thermally Stable Composite (TSC) material, along with traditional metals, for greater precision and use in wide temperature variations.
  • The bayonet mount is constructed from brass for ensured accuracy and durability.
  • This lens is compatible with the optional Sigma USB Dock for fine-tuning different lens characteristics and updating its firmware.

Ultra Wide Angle Lens Review: Tamron 15-30 f/2.8, Canon 16-35 & Sigma

Hands-on review and feature comparison of full frame wide and ultra wide angle lenses including the new Tamron 15-30 f/2.8 VC, the Canon 16-35 f/4 IS, the Canon 17-40 L and compared to Canon 11-24, Rokinon 14mm f2.8 and more. Which wide angle lens is best for you?

Lens Max Aperture Stabilized Filter Size Weight Price*
Tamron SP 15-30mm f/2.8 Di VC f/2.8 YES N/A 1100g (2.43lb) $1,199
Canon EF 16-35mm f/4L IS USM f/4 YES 77mm 615g (1.36lb) $1,099
Canon EF 17-40mm f/4L USM f/4 NO 77mm (r) 500g (1.10lb) $799
Sigma 24mm f/1.4 DG HSM Art f/1.4 NO 77mm 665g (1.47lb) $849
Rokinon 14mm Ultra Wide-Angle f/2.8 IF ED UMC f/2.8 NO N/A 552g (1.22lb) $329
Canon EF 11-24mm f/4L f/4 NO N/A (r) 1180g (2.60lb) $2,999
Canon EF 16-35mm f/2.8L II USM f/2.8 NO 82mm 635g (1.40lb) $1,599
Tokina 16-28mm f/2.8 Pro FX f/2.8 NO N/A 950g (2.09lb) $629

*Check links below for rebate savings!Complete Wide Angle Lens Presentation used during video. Support my work by purchasing from B&H Tamron 15-30 f/2.8 VC $1,199.00Canon 16-35 f/4 IS  $999.00 with current rebate (ends May 30th 2015)Canon 17-40 f/4 L $699 with current rebate (ends May 30th 2015)Rokinon 14mm f/2.8 $329.00Canon 11-24 f/4 L $2,999.0Sigma 24mm f/1.4 $849.00Tokina 16-28 f/2.8 $629.00 with current rebate (ends June 2015