The Sigma 12-24mm f/4 DG HSM Art lens is the lens you have been dreaming of for landscape, architecture, travel, automotive, train, and nature photography. Featuring a constant f/4 aperture for bright viewing and quick focusing, impeccable corner-to-corner sharpness, and impressive close-focusing capabilities, Sigma has given photographers every reason to upgrade their ultrawide glass right now.
Beyond the first impression when you pick this beauty up—namely, an immediate sense of the pro-level quality of the lens—there is in the end the satisfaction with the remarkable detail this lens resolves. Beginning at 12mm, picking up 122° or more than one-third of the world around you, this lens reveals intricacies that you would never see with the naked eye. While you might expect good center sharpness—the 12-24 has this in spades—the edge and corner sharpness is excellent, too. Add to this contrasty, nicely color-balanced images, and little distortion, and you have the perfect tool for prize-winning photography.
If you are looking for a super-fast, ultra-wide prime for nature, architectural, and event photography, then the Sigma 20mm F1.4 DG HSM Art lens is for you. Sigma 20mm F1.4 DG HSM Built with the same professional durability, usability, and image quality as its predecessors in the Sigma F1.4 Art lens lineup—the 35mm F1.4 Art and 50mm F1.4 Art—as well as that of its newer stablemates, the 24mm F1.4 Art and 85mm F1.4 Art, the 20mm F1.4 is an amazing lens.
Immediately upon unboxing the 20mm, you will likely be impressed by its build quality. Solid, generous (but not too hefty), and beautifully engineered are three things that describe this impressive piece of glass right away, but the real show-stoppers occur during image-making.
Ansel Adams is attributed with saying “The single most important component of a camera is the twelve inches behind it.” While it is true that the photographer is fundamental to making great images, few of us would deny that four inches of wise glass up front can contribute a lot, too. Enter the Sigma 24-105mm F4 DG OS HSM zoom. Adding this sharp, fast, and unbelievably rugged Art lens to your rig goes a long way toward making stunning images.
The Sigma 24-35mm F2 DG HSM Art lens, the world’s first full-frame f/2 zoom lens, is the perfect landscape lens. Sharp, contrasty, and amazingly rugged in its build, this constant-aperture, professionally built f/2 zoom replaces the three fast primes most often used in landscape photography—24mm, 28mm, and 35mm—saving you money in your pocket and space in your bag, all the while providing exceptional optical performance.
The Sigma 18-35mm F1.8 DC HSM Art lens is revolutionary. Never before has a zoom of this range been produced with a continuous, super-bright f/1.8 aperture. What’s even more amazing is that this groundbreaking optic exudes luxury in its build and performance and produces absolutely spectacular, tack-sharp images, even at f/1.8.
From landscapes to portraits, from product shots to architecture, from still lifes to close-up photographs, the Sigma 18-35mm Art lens is a great choice. It’s fast-focusing, reasonably sized, and optically stellar. Colors are reproduced accurately. Contrast is exceptional. And, as far as bokeh, well, it is smooth!
The Sigma 18-300mm 3.5-6.3 DC HSM OS Macro │ Contemporary lens is by far and away the very best multi-purpose optic that I have ever used. I added “by far and away” to emphasize how exceptional this lens really is, namely because I have photographed with some not-so-impressive multi-purposes glass in the past. The Sigma 18-300mm, however, is just the opposite: it’s extraordinarily impressive.
In my last photo dog blog, I demonstrated how Sigma’s newest prime, the 50mm f/1.4 DG HSM | Art lens, is effective in focusing on and freezing the action of active dogs. This time around, I’m slowing things down a bit, using the same glass with a still subject and utilizing the lens’s ultra-wide aperture for shallow depth-of-field.
One effective way to create stunning portraits, whether of humans or pets, is to use a wide aperture, focusing on the subject’s eyes and letting the background fall smoothly out-of-focus. To demonstrate this technique, I found a location where a number of potentially distracting elements would be visible behind Rowan, namely grass, taller plants, tree trunks, branches, and leaves, and a brightly-colored, flowering rhododendron. To make these picture elements even more distracting, full sun was hitting parts but not all of the background. I specifically chose complex background elements to show how portraiture shot at f/1.4 or f/2 can turn distractions into pleasing parts of a well-planned picture.