As previously noted, the physical design of the 16mm DN is instantly familiar to those who have used either the 30mm f/1.4 DN Contemporary or a lens like the 35mm f/1.4 or 50mm f/1.4 ART lenses. If you were familiar with the 30mm DN lens, it will seem a little large; if you were familiar with the 35/50mm lenses, it will seem quite small. This is, by a good margin, the largest lens in the DN series, but it is still a relatively compact lens by normal standards. To be fair, however, this is also the most extreme lens in the series, as all previous lenses have been very “safe” focal ranges (from 28mm – 90mm full frame equivalent). The 30mm lens has a full frame equivalent focal range (on a Sony 1.5x crop factor) of 45mm, and has a relatively simple optical formula of 9 elements in 7 groups. The 16mm lens corresponds to a classic wide angle of 24mm, and with an extremely large maximum aperture to boot. That added engineering challenge is shown in the complexity of the optical formula, which is 16 elements in 13 groups (almost twice as complex)! As I expected, the out-of-focus area had a nice creamy feel. Please take note, you Micro Four Thirds naysayers, this is smooth, creamy bokeh and a shallow depth of field achieved with a wide-angle lens! Did the Images Stand Up to Inspection? I am impressed by how the Sigma 16mm f/1.4 performs with respect to vignetting. Even when shooting wide open, there is not a lot of vignette and in many real-world situations, it would not be noticeable. What little vignette there is can be dealt with by stopping down a few stops, but exposure falloff is not a concern with this APS-C lens. Attached to my OM-1, it was nicely balanced. It’s similar in width to my Olympus 12-40mm f/2.8, but slightly longer. This lens isn’t only compatible with Micro Four Thirds; other versions fit the Sony E, Canon EF-M, Fujifilm X, and Leica L mounts. It comprises nine rounded diaphragm blades, so I anticipated the bokeh would be pleasing. A bright prime lens is the ideal way to experience the essence of the art of photography. Simply select a focal length that matches the image and enjoy complete control of the depth of field.

Sigma 16mm f/1.4 DC DN Contemporary Review Sigma 16mm f/1.4 DC DN Contemporary Review

The first in this SIGMA series of prime lenses for mirrorless cameras was the standard prime 30mm F1.4 DC DN | Contemporary, now followed by the wide-angle prime 16mm F1.4 DC DN | Contemporary. Going forward, SIGMA will add a telephoto lens to the series, making it a new and complete system for mirrorless camera users. With 16 elements in 13 groups, the optical system features a multitude of high-tech and high-end components, including three FLD glass elements, two SLD glass elements, and two molded glass aspherical elements. This optical system minimizes optical aberrations and ensures outstanding resolution at wide-open aperture and throughout the aperture range. In particular, the two aspherical lens elements have ultra-high-precision surfaces polished to tolerances under 10 nanometers, minimizing the onion ring bokeh effect that some aspherical elements produce and ensuring clear image quality throughout the frame. In addition, the structure of the optical system gently bends light to minimize sagittal coma flare and deliver optimal optical performance from the center of the frame to the edges. The result is a smooth, round bokeh effect with ample light volume throughout the frame. Even when uncorrected in-camera, vignetting is fairly minimal for such a fast, wide-angle lens. Stop down to f/2 and it becomes fairly unnoticeable. Ghosting and flare are also well controlled, and the same goes for barrel distortion.Holding the camera and hanging out over the edge of the pier, there was a starburst effect from the sun that was just disappearing behind a cloud. What I Liked and What Could Be Improved With This Lens The 16mm f/1.4 Contemporary is a crop-sensor lens, sold in both Sony APS-C E-mount and Micro Four Thirds varieties. I was sent the Sony E-mount version and tested it with the Sony A6500, a very capable APS-C mirrorless camera. Let's see how the Sigma handles a variety of shooting situations. Key Features and Specifications Bokeh is a word used for the out-of-focus areas of a photograph, and is usually described in qualitative terms, such as smooth / creamy / harsh etc. In the Sigma 16mm F1.4 DC DN C lens, Sigma employed an iris diaphragm with nine rounded blades, which has resulted in quite nice bokeh in our view. We do realise, however, that bokeh evaluation is subjective, so we've included several 100% crops for your perusal. Another point to remember here is that the lens doesn’t have inbuilt stabilisation. Although that’s not so much an issue with some manufacturers, such as the several of the Fujifilm models mentioned here, none of the Nikon Z DX cameras include IBIS. Generally, that shouldn’t really be a problem with a lens this wide, but it’s worth bearing in mind if you’re looking to shoot in certain conditions, such as low light or for vlogging for example.

16mm F1.4 DC DN – Sigma UK

When I shot a similar scene on the a6500/Sigma 16mm and then the new a7RIII/Sony FE 24-105mm f/4 G OSS lens (at f/5.6) and then downsampled the a7RIII image to equivalent resolution with the a6500 (which favors the a7RIII result), I found that the Sigma 16mm DN still delivered the better image. Less vignette along the edges, better sharpness near the edges, and slightly more contrast. This is a very sharp lens, with few competitors in the Sony system. His expertise with equipment doesn’t end there, though. He is also an encyclopedia when it comes to all manner of cameras, camera holsters and bags, flashguns, tripods and heads, printers, papers and inks, and just about anything imaging-related.Physically, there is no significant difference between this Fujifilm X version and other versions of the lens that we have seen, aside of course from the mount. It has the same simple, elegant design that Sigma adopted almost a decade ago. There is minimal text and branding on the barrel, with just a simple small chrome badge with the letter ‘C’ denoting that this is part of the Sigma Contemporary lens line. There are no buttons either, just a very large focusing ring with a ribbed texture. Unlike most of Fujifilm’s lenses, there’s no aperture ring, so to change this setting you have to use a dial on the camera body. Autofocus The 16mm, 30mm and 56mm F1.4 DC DN | Contemporary lenses are the perfect trio if you own a crop sensor mirrorless camera. These are great lenses for street photography and excel in low light conditions." Sharpness remains very good across the whole image frame, right into the corners (Image credit: Matthew Richards) At the smallest aperture of f/16, there was no visible fringing, and the image was still acceptably sharp.

Lensa Sigma 16Mm Terbaru - Harga Murah Oktober 2023 Jual Lensa Sigma 16Mm Terbaru - Harga Murah Oktober 2023

The mount features a special sealing to make the lens an excellent choice in a wide variety of conditions. Edge sharpness is also creditable, being very good from f/1.4 to f/2.8, excellent at f/4 and f/5.6 and then very good at f/8 and f/11. Results are softer at the edges at f/16, but can still be described as good. The SIGMA 16mm F1.4 DC DN | Contemporary features SIGMA's inner focus technologies, while lighter lens elements in the focus lens group make possible a more compact actuator. Moreover, this lens offers outstanding stability whether the photographer is shooting handheld or has the camera placed on a surface. Structurally, the lens features materials and parts that contribute to its compact, lightweight structure. In summary, this is an unprecedented lens that combines outstanding optical performance with exceptional portability and usability. As we’ve seen with an increasing number of Sigma’s Global Vision lenses for Canon DSLRs, this new M-mount lens is preloaded with data for enabling in-camera corrections for aberrations like peripheral illumination, chromatic aberration and diffraction, where featured in the host camera. Sigma 16mm f/1.4 DC DN | C: Performance

FUJIFILM X Mount

The Google Pixel 6 may not be the latest Google smartphone any more, but it might still be the best value For about a year now, I’ve been filming all my travel vlog content using a Canon M50 with a Canon 11-22mm EF-M variable zoom lens. As much as I like the 11-22mm, I’ve unfortunately been bitten more than once by its small f/4-5.6 aperture. Not a problem when shooting video outdoors in plenty of light, but in low light, I’ve had to raise the M50’s ISO super high to compensate which causes footage to lose sharpness and display noise. All in all there is a lot to like and little to criticize here. It’s a nicely made lens that has a premium look and feel to it.