Sigma 19mm F2.8 DN

Pros Compact. Impressive center sharpness. Inexpensive. Available for Micro Four Thirds and NEX cameras. Hood and soft case included.

Cons Edges don't impress until f/8. Modest aperture. No image stabilization. Bottom Line The Sigma 19mm F2.8 DN is a compact wide-angle prime for select mirrorless cameras. Its price is attractive, but it lacks image stabilization and only delivers an f/2.8 aperture.

By Jim Fisher

The Sigma 19mm F2.8 DN ($199 direct) is a wide-angle prime lens that's available for Sony E-mount cameras in the NEX and Alpha families and Micro Four Thirds cameras from Olympus and Panasonic. Due to the different sensor sizes in those bodies its field of view varies based on which version of the lens you buy; the NEX version (which we tested) acts like a 28.5mm lens on a full-frame, and the Micro Four Thirds version is closer to a 38mm. A 28mm on a full-frame camera is a classic wide-angle field of view, but the narrower 38mm angle edges closer to a standard-angle design.

Regardless of which version you buy, you'll get the same compact 1.8 by 2.4 (HD), 5.6-ounce lens; only the mount differs. The barrel is smooth metal that's cool to the touch. The smoothness actually makes manual focus a bit of an odd experience; it's a strange departure when compared with most lenses which feature a textured ring over the manual focus control. It can focus on objects as close as 7.9 inches, supports 46mm threaded filters, and is available in black or silver. A reversible hood and a soft carrying case are included with the lens.

I used Imatest to check the sharpness of the lens when paired with the APS- C Sony Alpha 3000. At f/2.8 it scores 2,045 lines per picture height on our center-weighted test, which is better than the 1,800 lines that we use to call an image sharp. The edges are a bit soft, just around 1,550 lines, but that's typical of compact wide angles. Its edges are still better than those captured by the Sony 16mm f/2.8 prime lens for the NEX system.

Stopping down to f/4 brings up the overall score to 2,105 lines, but doesn't do much at the edges. At f/5.6 we start to see some sharpening there; the overall score is 2,185 line and the edges hit 1,720 lines. Edges are at their best at f/8 (they approach 1,900 lines), but the overall sharpness drops just a bit to 2,165 lines due to some loss of sharpness at the center of the frame. Distortion is a minor issue; the 19mm shows 1.4 percent barrel distortion, which is just slightly noticeable in field conditions. It's something that's easy enough to fix in software if it's detracting from a shot.

We tested the lens on a Sony camera, but Micro Four Thirds shooters will benefit from the smaller sensor: The soft edges that we saw in our tests will be cut off and the lens should provide more even sharpness from edge to edge at wider apertures. But if you've got the money, you're better served with the Olympus M.Zuiko Digital 17mm f1.8, which has a more ambitious aperture and a better manual focus ring. Neither lens has image stabilization; most Olympus bodies have that built-in, but most Panasonic and all Sony NEX bodies lack it. For a wide-angle like this it's not crucial for stills, but it does go a long way for video use.

The Sigma 19mm F2.8 DN is a good lens for mirrorless cameras, but it's not an outstanding one. We haven't yet tested the Sony 20mm f/2.8 for NEX cameras, which is noticeably smaller but also $150 more expensive. The 19mm is light and compact in its own right, and a good value for any shooter who is a fan of that focal length. Micro Four Thirds owners have more options in the 19mm focal range, including the excellent Olympus 17mm lens, an ultra fast (and expensive) 17.5mm f/0.95 lens from Voigtlander, and the Panasonic 20mm f/1.7; they all capture more light than the Sigma, but can't match it on price. 

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Sigma 30mm F2.8 DN

Pros Very sharp from edge to edge. Minimal distortion. Compact design. Inexpensive. Available for Micro Four Thirds and NEX cameras. Includes hood and case.

Cons Modest aperture for a prime. No image stabilization. Bottom Line The Sigma 30mm F2.8 DN is a sharp, compact prime lens for Sony and Micro Four Thirds mirrorless cameras, but it doesn't offer image stabilization.

By Jim Fisher

The Sigma 30mm F2.8 DN ($199 direct) is one of a trio of lenses that Sigma produces for mirrorless cameras. This model can be purchased for Sony NEX or Micro Four Thirds cameras, and delivers a slightly different shooting experience depending on the camera with which it is used due to the differing sensor sizes in the systems. We reviewed it on a NEX camera, where it delivers a 45mm (full-frame equivalent) field of view, but if you shoot with a Micro Four Thirds camera the smaller sensor makes it more like a 60mm lens.

The lens itself is impressively compact. It measures just 1.6 by 2.4 inches (HD), weighs in at 4.9 ounces, it supports 46mm threaded filters, and a reversible lens hood and soft case are included. It can be had in silver or black, and the metal barrel gives it a solid feel. The large focus ring is smooth, which isn't my preference for manual focus control; a ring with ridges or a similar texture provides a better grip. The minimum focus distance is 11.8 inches, which makes it a far cry from a macro lens. NEX shooters would be better served with the Sony 30mm f/3.5 Macro if close focus is a concern; its aperture is only a half-stop narrower and it can focus to 3.7 inches for 1:1 magnification. As is the case with the Sony macro, there's no optical image stabilization, you'll need to move up to the Sony 35mm f/1.8 to get that in the NEX system. Micro Four Thirds shooters with Panasonic cameras may also want to consider a stabilized lens, but Olympus cameras feature in-body stabilization.

I used Imatest to check the sharpness of the Sigma lens when matched with the APS-C Sony Alpha 3000. It's one area where there are no disappointments. At f/2.8 the lens manages 2,144 lines per picture height with sharp edges and minimal (1 percent) distortion. That's better than the 1,800 lines we require for a photo to be called sharp. Performance increases gradually as you narrow the aperture; it peaks at 2,256 lines at f/5.6. At corresponding apertures it outperforms the Zeiss Touit 1.8/32 for NEX. The Zeiss is more expensive, but it captures more than twice the light as the Sigma at its widest aperture.

You can't argue with the value for your money that the Sigma 30mm F2.8 DN delivers. For less than $200 you get a compact, standard-angle prime lens that is sharp from edge to edge at every aperture. But there are a couple things that you miss—image stabilization and close focus to be precise. If you're a macro fan, the extra $80 you'll spend on the Sony 35mm Macro is worth it, and its f/3.5 maximum aperture is only a half-stop narrower than the Sigma's f/2.8. But if you have the money, the Sony 35mm f/1.8 is your best bet for a similar lens in that system—it has the same close focus limitation as the Sigma lens, and it's not super sharp at f/1.8. But it does deliver solid performance from f/2.8 onward, and stabilization will let you shoot at narrower apertures and still get a blur-free image.

Micro Four Thirds photographers have fewer options in the 30mm focal range. Olympus's lineup has a 17mm lens and a 45mm lens, but nothing in between. Panasonic offers a Leica-designed Summilux 25mm f/1.4, but that's more than three times the cost of the Sigma. And Voigtlander makes a low-light beast in the Nokton 25mm f/0.95, but it's manual focus only and $1,200. That makes this lens appealing if you're looking for something in this focal range on a budget, especially if you own an Olympus camera or the stabilized Panasonic GX7.

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Sigma 60mm F2.8 DN

Pros Very sharp from edge to edge. Minimal distortion. Available for Micro Four Thirds and NEX cameras. Includes hood and soft case.

Cons Lacks image stabilization. Bottom Line The Sigma 60mm F2.8 DN is the largest and most expensive mirrorless lens in the company's lineup. It's sharp, but lacks image stabilization.

By Jim Fisher

The Sigma 60mm F2.8 DN ($239 direct) is the largest and most expensive lens that the company currently offers for mirrorless cameras, but it's still fairly light and compact when compared with SLR glass. The prime produces a 90mm (full-frame equivalent) field of view when paired with a Sony NEX camera, and a tighter 120mm viewpoint when mounted on a Micro Four Thirds camera. It's not optically stabilized, which is a downer given its short-telephoto design, but Olympus Micro Four Thirds photographers and Panasonic GX7 owners will be fine thanks to in-body stabilization.

It measures 2.2 by 2.4 inches (HD), weighs 7.5 ounces, and sports a 46mm filter thread. Like the other lenses in the DN series, it's available in black or silver, its barrel is metal, and the focus ring has no texture to it. Your mileage may vary, but I prefer a focus ring that delivers a bit more grip. A reversible lens hood is included, as is a soft carrying case. The minimum focus distance is 19.7 inches, so it's by no means a macro lens. Micro Four Thirds shooters should look to the Olympus M.Zuiko Digital ED 60mm f2.8 Macro if close focus is a concern.

I used Imatest to check the performance when paired with the Sony Alpha 3000. It's an impressive performer, delivering 2,342 lines per picture height at f/2.8 and virually no distortion. Edges are nearly as sharp as the center, and sharpness is even from f/2.8 through f/5.6. My only gripe is that it's not stabilized, which coupled with the f/2.8 aperture and short-telephoto field of view forces you to use a faster shutter speed to get a crisp handheld shot. It's not the only short-telephoto lens for mirrorless cameras that's impressed us; the Sony 50mm f/1.8 resolves 2,055 lines at its maximum aperture, is capable of capturing more than twice the light as the Sigma, and is optically stabilized.

The Sigma 60mm F2.8 DN is another solid entry in the company's lens catalog. It isn't stabilized, but it comes in at an attractive price point. Micro Four Thirds shooters may prefer the Olympus 60mm Macro due to its close focusing capability, but its price tag is double that of the Sigma, and many Micro Four Thirds cameras have built-in stabilization. If you're looking at the lens for a NEX system, you're better served with the Sony 50mm f/1.8. Its field of view is a little wider, but it's also quite sharp, it's stabilized, and it's not that much more expensive than the Sigma.

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Sigma 120-300mm F2.8 DG OS HSM

Pros Wide f/2.8 aperture throughout zoom range. Impressive telephoto reach. Very sharp. Minimal distortion. Excellent build quality. Compatible with USB dock.

Cons Expensive. Very large and heavy. Huge front element increases filter costs. Bottom Line Sigma's 120-300mm F2.8 DG OS HSM is the lens to get if a 70-200mm f/2.8 just isn't long enough, but you'll need a strong back to lug it.

By Jim Fisher

The Sigma 120-300mm F2.8 DG OS HSM ($3,599 direct) isn't a lens for the faint of heart. The zoom, which is compatible with full-frame and APS-C camera bodies and is available in Canon, Nikon, and Sigma mounts, brings new meanings to the words big and heavy. But that's the price you pay if you're shooting sports or wildlife and you want the versatility of a zoom and the light-gathering capabilities of an f/2.8 lens. Most event shooters and weekend warriors will be happy with the reach that a comparatively small 70-200mm f/2.8 lens provides, but if you need the extra reach, the image quality that this zoom captures will not disappoint you. It's unique in that it's the only zoom on the market that reaches 300mm at f/2.8. More importantly, it's an impressive performer in terms of sharpness, which earns it our Editors' Choice award.

It measures 11.5 by 4.8 inches (HD) and weighs 7.5 pounds. If you add the included reversible hood the height increases to 16 inches. Despite the added size, we recommend using the hood for a couple of reasons. It will reduce the chance of lens flares and give a slight boost to image contrast, but more importantly it will go a long way in protecting the huge front element. The hood is made of metal and can take some abuse, and it's certain to prevent stray fingerprints from hitting the lens element. Buying a good multicoated UV filter to protect the lens is a daunting prospect; at 105mm, even the bargain-basement filters can run $50, and a good one will set you back $180. There's no drop-in filter option, so if you're someone who still uses glass filters (the most useful of which are polarizing filters on digital bodies), you'll want to budget for one that fits the lens. You'll also have to reverse or remove the hood if you opt for a polarizing filter; you won't be changing its position very easily with the hood attached.

A tripod collar is included, and that's a good thing. You don't want to put this lens on the front of your SLR and for your mount to bear the brunt of the weight. There are three tripod sockets on the collar, so you can attach a quick release plate and an attachment for a BlackRapid or similar strap system. If you need to move about with this lens, we really recommend that you add a good monopod like the excellent Manfrotto 694CX Carbon Fiber 4-Section Monopod to your kit. Your arms will thank you at the end of a long day of shooting, and you'll be able to get sharp photos at longer shutter speeds. The lens does have built-in optical stabilization, and I was quite happy with its performance in conjunction with a monopod. I managed to get sharp photos at 300mm f/2.8 at shutter speeds as low as 1/60-second when shooting subjects that were relatively still. Obviously you'll want a shorter shutter speed to capture action when the light allows for it.

There are a few control switches on the lens, near the mount. You get a standard autofocus/manual focus toggle swtich, and three-position focus limiter that lets you seek focus over the full range, from 10 meters to infinity, or from the minimum focus distance to 10 meters. The minimum focus distance changes depending on focal length; at 120mm it is 1.5 meters, and at 300mm it is 2.5 meters. There's also a switch to set the stabilization mode, or to disable stabilization, and a custom settings switch. This has an off position and two separate custom settings; you can change custom settings by connecting the lens to your PC via Sigma's USB Dock accessory.

I used Imatest to check the sharpness and distortion of the lens when paired with the full-frame Canon EOS 6D. We consider a lens sharp if it exceeds 1,800 lines per picture height using a center-weighted testing method. The 120-300mm exceeds that mark at eevery tested focal length, even at its maximum f/2.8 aperture. At 120mm f/2.8 it notches 2,415 lines; stopping down progressively increases sharpness, which peaks at 2,657 lines at f/5.6. Edge sharpness is impressive as well. At f/2.8 edges are a little softer than the center, notching 2,143 lines, but are still very impressive. But setting the lens at f/4, f/5.6, or f/8 gives you an image that is evenly sharp from edge to edge. Distortion is completely negligible, just 0.1 percent.

Performance at 200mm is equally impressive. The lens notches 2,351 lines at f/2.8 lines, with edges that are just shy of 1,900 lines. You don't get the even edge-to-edge performance at this focal length that you do at 120mm when you stop down, but the already sharp lens improves steadily as you narrow its aperture, peaking at 2,609 lines at f/8. There's about 0.9 percent pincushion distortion, which is essentially irrelevant in field conditions.

The lens is at its weakest at 300mm, but even there it's pretty darned good. It manages 2,054 lines at f/2.8, with edges that top 1,800 lines. Performance increases as you stop down, peaking at 2,304 lines at f/8; edges top 2,000 lines there. We weren't able to measure distortion at this setting; the bars in our test chart that are used to analyze that weren't able to fit into the frame, but an eyeball inspection shows that it's nothing to be concerned about.

If a 70-200mm isn't long enough, and you need a lens that opens up to f/2.8, the Sigma 120-300mm F2.8 DG OS HSM is a tough one to beat. It's impressively sharp throughout its zoom range, gathers a heck of a lot of light, is compatible with Sigma's USB Dock, and is built like a tank. It's also as big and heavy as a tank, so you'll be a happier photographer if you pair it with a monopod or tripod; thankfully the included tripod collar has three tripod threads so you can move it from a BlackRapid strap to a monopod or tripod with ease. It's not an inexpensive lens, and if you prefer to use a filter to protect your lenses you'll be greeted with some sticker shock when you see the price of a good 105mm filter. Most event shooters will be content with a 70-200mm, but if you're a sports shooter, wildlife photographer, or just someone who really loves telephoto photography you won't be disappointed with the sharpness delivered by this 120-300mm. Its performance earns it our Editors' Choice award, but if you hurt your back schlepping it around, please don't send us your chiropractic bills.

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Sigma 50mm F1.4 EX DC HSM

Pros Wide aperture. Excellent center sharpness. Includes soft case and lens hood. Internal focus motor.

Cons Weak edge performance, even when stopped down. No optical stabilization. Some barrel distortion. Bottom Line The Sigma 50mm F1.4 EX DC HSM captures a lot of light, but it doesn't offer the edge-to-edge sharpness of more recent Sigma lenses.

By Jim Fisher

Sigma has been on quite a run lately, producing camera lenses with ambitious apertures and impressive edge-to-edge sharpness. The 50mm F1.4 EX DC HSM ($499 direct) is an older design, and not quite up to the company's recent standards. It's sharp in the center, but edges are a bit soft, even when the aperture is narrowed. The lens is available for Sigma, Nikon, Canon, Pentax, and Sony cameras, and it doesn't offer a significant price advantage over its competition. Our Editors' Choice 50mm lens is still the Nikon AF-S Nikkor 50mm f/1.4G, and is the clear choice if you're considering this lens for a Nikon system; but if you shoot with another camera system, you may want to consider this Sigma lens.

The lens measures 2.7 by 3.3 inches (HD) and weighs about 1.1 pound. It's got an internal focus motor and a big 77mm front element. The lens can focus as close as 17.7 inches, which is in line with the other 50mm f/1.4 lenses that we've tested. A reversible petal-style lens hood and a soft carrying case are included. There's no optical stabilization system, which is also typical for this type of lens; Sony and Pentax owners will benefit from the in-camera stabilization that those cameras provide. Alpha shooters will want to consider this as an alternative to the Sony 50mm f/1.4, which uses a screw-drive focus system that is noticeably noisier than the Sigma's internal focus motor. Sony cameras that use full-time Live View for fast video autofocus will benefit from this, and if you have an APS-C body like the Alpha 77, the lack of edge sharpness that we saw on a full-frame camera isn't a concern.

I used Imatest to check sharpness when paired with the full-frame Canon EOS 6D. At f/1.4 it delivers impressive sharpness at the center areas of the frame, but edges are very soft. Our evaluation looks at a center-weighted score that considers the entirety of the frame; the cutoff for an acceptably sharp photo is 1,800 lines per picture height. The lens does better that, notching 1,959 lines on the test, but outer row of test squares is downright blurry at 838 lines. It's a disappointing result, especially when you consider that the Canon EF 50mm f/1.4 USM managed a comparable 1,874 lines at f/1.4, with an edge score of 1,341 lines using the same test camera.

Stopping the lens down improves the score marginally; at f/2 the overall score is 2,140 lines, and at f/2.8 it improves to 2,173 lines; edges are around 1,000 lines at both of these settings. Narrowing the aperture to f/4 improves sharpness to 2,317 lines with edges that land just shy of 1,200 lines. Edge performance finally gets to an acceptable level at f/5.6; the overall score is 2,472 lines there, with edges that hover around 1,650 lines. At f/8 the lens sings; the overall score is 2,600 lines and edges top 2,100 lines. But the Canon lens gets sharper faster. It hits 2,466 lines at f/4 with edges that resolve 1,750 lines; at f/5.6 its sharpness is rated at 2,739 lines with ultra-sharp edges that resolve 2,321 lines. Our Editors' Choice Nikon lens is even better; its sharpness is 1,955 lines at f/1.4, with edges that are just shy of 1,800 lines. The Sigma shows 1.5 percent barrel distortion, which is just enough to mention—straight lines are going to show a bit of an outward curve in your photos, but it's easily corrected in software. Both the Nikon and Canon 50mm f/1.4 lenses show 1.6 percent.

On a full-frame camera, the Sigma 50mm F1.4 EX DC HSM is a bit of a disappointment. Imatest shows that it's quite sharp in the center, but the edges just can't keep up. How often this affects real-world performance will depend on your photographic style. If you like to frame in-focus subjects towards the center of the frame, the shallow depth of field that you'll get when shooting at wider apertures perfectly disguises this shortcoming. And if you've got an APS-C camera, the unsharp edges are going to be cropped out of your photos due to the smaller image sensor size. Sony shooters, especially those with APS-C cameras, should take a close look at this one as it offers an internal focus motor, and Pentax shooters who don't want to drop $800 on the weather-sealed DA* 55mm f/1.4 should also consider this as a less-costly alternative. But Canon shooters are better off with the 50mm f/1.4 USM, and if you're rocking a Nikon D-SLR you'll be happy to know that the AF-S Nikkor 50mm f/1.4G is an excellent performer. It impressed us enough to earn our Editors' Choice award.

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