SIGMA announced the world’s smallest full frame mirrorless camera

SIGMA Corporation is pleased to announce the launch of “SIGMA fp,” the world’s smallest and lightest full-frame mirrorless digital camera*. The SIGMA fp incorporates a 35mm full-frame Bayer sensor with 24.6 effective megapixels in a compact body, and boasts great versatility and scalability that allows mixing-and-matching of a variety of interchangeable lenses and accessories. It is a camera that is casual enough to take anywhere, anytime, and high-spec enough for serious still and cine shooting in the highest image quality, all in a robust and classy body.

Regardless of the differences in shooting scenes and styles or genre boundaries between stills and videos, this new camera is set to expand the freedom and possibilities in image shooting and art creation further than ever before. A “pocketable full-frame” camera: SIGMA fp, is now available.

*As of July, 2019.

SIGMA’s take on an entirely new system camera. The world’s smallest and lightest “pocketable full-frame” camera is here.

The environment that surrounds shooting and art creation is undergoing radical changes. In this day and age when one user may have both a high-performance interchangeable lens camera and a smartphone camera, using them flexibly according to specific purposes and settings, SIGMA stopped and questioned the inherent value of a digital camera.
As a result, SIGMA set itself to develop a user-oriented digital camera that reflected the idea of “how a camera can be” in a more flexible and true-to-life manner, without conforming to manufacturers’ ideas of camera-centric categories and hierarchy.

Pocketable full-frame│Impressive portability and power

The “smallest and lightest body possible” with which one can express their creative ideas whenever they want, combined with a “full-frame sensor” that is suitable for serious occasions without compromising on image quality, and “superb build quality” that makes the camera the perfect linchpin of a high-performance lens system.

Scalable│Versatile scalability

An “open and liberal system” that allows one to pair the camera with lenses and accessories, whether from SIGMA or other brands, using a variety of attachments, complete with “versatile scalability” that makes the camera adaptable to any scenes.

Seamless│Full-fledged, liberating shooting functions

A “highly intuitive UI” that allows one to move between full-fledged still and cine shooting modes with just one finger, making for a “seamless and truly creative tool” that goes beyond style and genre differences.

Making it a top priority to realize these three concepts all at once and without requiring any trade-offs, SIGMA selected only the elements and mechanisms that were truly needed with no compromise to create the SIGMA fp as the embodiment of an “entirely new digital camera that SIGMA can offer to the world right now.”

It’s a camera body that changes its configuration with great flexibility centered around the user. It’s a tool that gives the user the joy of a new camera life that they themselves are yet to discover. It’s a new system camera that will overturn the paradigm of “digital cameras.”
The SIGMA fp is here to broaden the potential of “image shooting” ad infinitum.

World’s smallest and lightest full-frame camera

With overall dimensions of 112.6×69.9×45.3mm and body weight of 370g, without battery and card, the SIGMA fp is the world’s smallest and lightest full-frame mirrorless camera*. It employs a back-illuminated 35mm full-frame Bayer sensor with 24.6 effective megapixels for high-quality images.

Covered on the front and back sides with die-cast aluminum alloy for its superior robustness and thermal conductivity, the compact body of the SIGMA fp is built with a signature heat sink structure and sealing on 42 points for a dust- and splash-proof structure, making it a perfect camera to use for long hours under all types of environments. With its small body and great adaptability, the SIGMA fp enhances the joy of full-frame image quality, no matter what one’s shooting settings may be.
＊As of July, 2019.

Electronic shutter for a variety of settings

“Able to shoot whenever you want, wherever you want”―to realize this concept, the SIGMA fp incorporates a construction without a mechanical shutter for quiet shooting. This allows shooting without worrying about noise in a situation where one would have hesitated with a conventional camera because of its shutter sound. It gives no shutter shock even when shooting in quick succession at a frame rate of 18 frames/sec. eliminating even the tiniest shakes.

In addition, the absence of a mechanical shutter, whose performance level can change through continuous operation, means that the SIGMA fp is a camera with improved reliability.

Superior options in artistic picture & video creations

The SIGMA fp is a frontrunner in incorporating functions that help exploring the photographic and cinematic creations.

For instance, in addition to a number of different color modes, the SIGMA fp has newly introduced the “Teal and Orange” mode, inspired by the color grading technique commonly used in Hollywood films. Each mode has a slider that enables adjustment of the strength of the effects to apply, providing even greater control in one’s creations.

The SIGMA fp is the first SIGMA camera to employ a tone curve adjustment function in addition to “Fill Light”, a special adjustment function of SIGMA Photo Pro, and they are both available in-camera. It has also newly introduced “TONE” and “COLOR” buttons for a quick access to each of the tone control and color mode menus. With these enhanced functions and a variety of operation elements, the SIGMA fp makes it simple and easy to create an image, in-camera with great details, be it still or video.

Advanced picture & video generating functions

The SIGMA fp employs a number of advanced technologies for image and video generation.

The Auto HDR function takes advantage of an electronic shutter to take multiple pictures of different exposures (3 frames for still photography and 2 frames for video) at once, which can then be merged into a single picture or video with a great dynamic range that could not have been achieved in normal shooting.

The Cinemagraph function, meanwhile, achieves a hybrid between still photography and video in the form of animated GIFs in which parts of a still image keep moving. With this function, the SIGMA fp is capable of creating Cinemagraphs in-camera.
Note: The Auto HDR function in the Cine mode and the Cinemagraph function are to become available via firmware update scheduled at a later date.

L-Mount

The SIGMA fp uses the L-Mount*, characterized by a short flange focal length, large diameter, and superior durability. For interchangeable lenses, in addition to the wide-ranging choices of SIGMA lenses, other manufacturers’ lenses can also be an option through the L-Mount Alliance with Leica Camera AG and Panasonic Corporation. With the SIGMA MOUNT CONVERTER MC-21, SIGMA SA mount and SIGMA’s CANON EF mount lenses can be used, making the best out of one’s lens investment.

*The L-Mount Trademark is a registered Trademark of Leica Camera AG.

Supports full-fledged video production

For raw video data, the SIGMA fp supports 12-bit CinemaDNG external recording. With 4K UHD/24fps recording, it produces video data that can be used even in filmmaking. It also supports ALL-I recording which is optimal for editing H.264 compressed videos.

For video output, it uses USB3.1(GEN1), which allows a smooth data transmission to an external recording unit. As it also supports cinema camera-like user interfaces, the SIGMA fp is a camera that can be taken straight to video production settings.

Note: The feature of playing CinemaDNG footages in-camera is to become available via firmware update scheduled at a later date.

Seamless transition between Still and Cine modes

Going from the Still mode to the Cine mode at the flip of a switch. Each mode comes with a specially designed operation system and displays, making it possible to concentrate on shooting in each mode, stress-free.

For more about other features, please refer to the link : https://www.sigma-global.com/en/cameras/fp-series/main-feature

Sigma Announced Five New Global Vision Lenses

Cologne, Germany – September 25, 2018 – Sigma today announced five new Sigma Global Vision lenses shown for the first time at the 2018 Photokina expo in Cologne, Germany from September 26th-29th in Hall 4.2 on Stands B020, B028I and C029. From wide-angle to hyper-telephoto, the new Sigma Global Vision introductions arrive as some of the most anticipated lenses in the industry, further facilitating artistic expression for photographers.

Sigma 28mm F1.4 DG HSM Art

The new Sigma wide-angle model stands out with its thoroughly corrected magnification chromatic aberration and sagittal coma flare, as well as completely minimized distortion thanks to its optical design. It features water- and oil-repellent coating on the front lens element and its overall dust- and splash-proof structure ensures excellent performance even in the most challenging shooting conditions. The high-speed AF, thanks to the HSM (Hyper Sonic Motor) with an updated algorithm, captures the perfect moment instantly. Available in Sigma, Nikon, Canon and Sony E camera mounts, this lens is a great contender for street photography, as well as shooting landscapes and night skies.

Sigma 40mm F1.4 DG HSM Art

The 40mm F1.4 DG HSM Art is Sigma’s first lens developed originally to live up to the sought-after angle of view and performance standard for a benchmark cine lens. This lens effectively arranges three FLD (“F” Low Dispersion) glass elements and three SLD (Special Low Dispersion) glass elements to correct axial chromatic aberration and magnification chromatic aberration. Designed for exceptional sharpness at maximum aperture, this lens excels at available light photography. With less than 1% distortion and near non-existent sagittal coma flare, this lens demonstrates consistent optical results featuring both 8K-compatible resolution and a beautiful bokeh. It is available for Sigma, Nikon, Canon and Sony E mount camera systems.

Sigma 56mm F1.4 DC DN Contemporary

This lens completes the Sigma large aperture series of portable wide-angle, standard, and telephoto prime lenses in Micro Four Thirds and Sony E mounts. Featuring compact design, light weight and outstanding image quality offered in Sigma’s Contemporary line, this lens stuns with a beautiful bokeh effect and the amount of brightness expected from F1.4 lenses even in the mid-telephoto range for cropped sensor cameras. In addition, this lens is characterized by smooth and quiet autofocus ideal for video shooting. Compatible with the Sony E mount Fast Hybrid AF, it also achieves precise AF tracking. By using the face recognition or eye AF functions of the camera, focus will continuously be on the face or the eye even if the subject moves during the shoot.

Sigma 70-200mm F2.8 DG OS HSM Sports

One of the most anticipated lenses from the Sigma Global Vision line, the Sigma 70-200mm F2.8 DG OS HSM Sports is the new flagship large-aperture telephoto zoom lens that meets the most stringent needs of professional photographers. Robust yet lightweight, the lens’ magnesium body ensures high mobility and its dust- and splash-proof structure together with the water- and oil-repellent coating on the front element ensure safe use even in the most challenging shooting conditions. It also incorporates Intelligent OS with an acceleration sensor and the latest algorithm capable of panning in all directions. The lens’ optical design, incorporating 10 exclusive low-dispersion glass elements, allows for extremely high resolution, from the center to the corners. By optimizing spherical aberration, a smooth and natural bokeh effect is achieved when using the Sigma 70-200mm F2.8 DG OS HSM Sports for portrait photography. The versatility of this lens is demonstrated in various customization options via an AF Function button either through the camera body or Sigma USB Dock. The newest F2.8 large-aperture zoom lens from Sigma comes in Sigma, Canon and Nikon mounts.

Sigma 60-600mm F4.5-6.3 DG OS HSM Sports

The Sigma 60-600mm F4.5-6.3 DG OS HSM Sports is the world’s first 10x optical zoom telephoto lens with a tele end of 600mm. Incorporating 25 elements in 19 groups, excellent and consistent image quality can be achieved throughout the entire zoom range. This lens’ intelligent OS featuring the latest algorithm delivers an image stabilization effect of 4 stops. Its optical design ensures maximum correction of magnification chromatic aberration encountered in hyper-telephoto shooting. This offers both high resolution and consistent edge-to-edge performance throughout the entire zoom range. In addition, when shooting at the focal length of 200mm, the Sigma 60-600mm F4.5-6.3 DG OS HSM Sports can also be used for telephoto macro photography, with a maximum magnification ratio of 1:3.3, thanks to its high rendering performance. Its multi-material build, which incorporates magnesium among other components, ensures durability and enhances portability, allowing for comfortable handling of the 10x zoom lens. The zooming mechanism has been engineered to make both smooth rotation and straight zoom possible. Versatile and robust, the new Sigma hyper-telephoto zoom lens is available in Sigma, Canon and Nikon mounts starting in late October 2018 for $1999 USD. 

Sigma Announced 14-24mm f/2.8 DG HSM Art Lens

February 9, 2018 – Sigma Corporation today announced the brand new 14-24mm F2.8 DG HSM Art wide aperture zoom lens. In addition to the new Global Vision full-frame lens model, Sigma also announced a new front conversion service for the 14-24mm F2.8. See official Sigma sample photos taken with lens here.

Outstanding Art Lens Performance

Designed for 50-megapixel plus cameras, the 14-24mm F2.8 DG HSM Art achieves the legendary Art lens sharpness with three FLD glass elements, three SLD glass elements, and three aspherical lens elements, including one 80mm high precision molded glass aspherical element. With near zero distortion (less than 1%) and minimal transverse chromatic aberration, flare and ghosting, the new Sigma 14-24mm offers constant F2.8 brightness throughout the zoom range and delivers optimal image quality at every focal length and shooting distance. The high-speed, high-accuracy autofocus allows photographers to capture incredible, in-the-moment images.

Rugged Design

In addition to outstanding optical performance, the 14-24mm F2.8 DG HSM Art features the Sports line level dust- and splash-proof design with special sealing at the mount connection, manual focus ring, zoom ring and cover connection, allowing for the lens to be used during varying weather conditions.

Versatile Camera System Mount Support

The new Sigma 14-24mm F2.8 DG HSM Art lens supports Canon, Nikon and Sigma mounts and works with Sigma’s MC-11 Sony E-mount converter. The Nikon mount features brand new electromagnetic diaphragm, whereas the Canon mount is compatible with the Canon Lens Aberration Correction function.

Front Mount Conversion Service for Sigma 14-24mm F2.8 DG HSM Art

Addressing the rising popularity of multi-camera productions, especially using ultra wide-angle lenses in shooting virtual reality (VR) content, Sigma has introduced its Front Conversion Service. Converting the petal-type hood of the 14-24mm F2.8 DG HSM Art to an exclusive round component allows for the lens to be used in various VR scenarios without the risk of interfering with other lenses in the VR rig or undesired shadows in the content.

Pricing and availability for the Sigma 14-24mm F2.8 Art lens will be announced later. The availability of this fee-based service for Sigma 14-24mm F2.8 Art will be announced at a later date.

Sigma To Announce 14-24mm f/2.8 Art DG HSM Lens This Year

Sigma has a very successful Art line of lenses for Canon and Nikon cameras. They are planning to match almost all the high end Canon glass on the market, including the Super Telephoto line.

They have a 14-24mm f/4 DG HSM lens available now but is planning to announce the f/2.8 version some time this year. Sigma is the better of the two third party lens manufacturers. Read my earlier post on the interview with CEO Kazuto Yamaki. Check back often for the latest information.

Sigma To Announce New Lens Before PDN PhotoPlus Expo

Ronkonkoma, NY – October 4, 2017 – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, will showcase its full line up of Sigma Global Vision lenses, including a brand-new addition to the line, at the upcoming PDN PhotoPlus Expo 2017 Expo held at the Jacob Javits Convention Center in New York City from October 26-28, 2017 (booth 837).

The company will also have on hand its breakthrough optics for the cinema market – the Sigma Cine high-speed Primes and Zooms – as well as the Foveon sensor-based sd Quattro and Quattro H cameras. “Sigma has had a landmark year with the introduction of seven new lenses across our Global Vision and Cine product lines,” states Mark Amir-Hamzeh, president of Sigma Corporation of America. “Our research and development team is dedicated to creating superior optics that meet the ever-growing requirements of today’s high resolution cameras, taking advantage of every possible design and element to capture the greatest picture detail for both still and moving images.

We look forward to showcasing the culmination of what has been a remarkable year in optical advancements for Sigma at this year’s PPE event.” Sigma 2017 introductions include the award-winning 14mm F1.4 DG HSM Art, 24-70mm F2.8 DG OS HSM Art, 135mm F1.8 DG HSM Art, 100-400mm F5-6.3 DG OS HSM Contemporary Sigma Global Vision lenses and the new Sigma Cine FF High Speed 14mm T2 and 135mm T2 prime lenses.

Sigma Special PPE Presentation – Sigma Pro Phenom Jen Rozenbaum

Sigma Pro Jen Rozenbaum will take the PPE stage on Wednesday, October 25, 11:00 AM – 12:30 PM to deliver a PPE Master Class on “How to make every woman look amazing.” Jen will share with attendees her vast experience in boudoir photography, providing top tips and secret tricks – from wardrobe to posing – that flatter all women. Jen’s presentation will help attendees understand how to best dress and pose any woman of any size and shape as well as gain confidence behind the camera whether they are shooting boudoir, wedding or seniors!

Master Photographers Take the Sigma Stage

Showcasing the very best in photography craft, the expanded Sigma Pro family will headline the Sigma stage and offer attendees a behind the lens look at the techniques and technology that captured some of the year’s most outstanding photographs in the areas of aviation, editorial, glamour, landscapes, travel and weddings.

This year’s prestigious Sigma Pro PPE stage line-up includes outdoor sports and adventure travel photographer Liam Doran, aviation photo expert Jim Koepnick, renowned bird and travel photographer Roman Kurywczak, fearless woman photographer Jen Rozenbaum, and glamour and wedding photographer Jim Schmelzer.

For the Sigma Pro presentation schedule days and times, please visit : https://blog.sigmaphoto.com/event/photoplus-2017/

Sigma Super Giveaways at PPE 2017

PPE 2017 attendees who visit Sigma at booth 837 will have a chance to enter and win a Sigma grand giveaway – a 24-70mm f/2.8 Art lens – a MSRP value of $1,299.00 USD.

Sigma Canada Interviews CEO Kazuto Yamaki

Ronkonkoma, NY – July 13, 2017 – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, today announced the availability of two brand new cine lenses: the Sigma 14mm T2 FF and 135mm T2 FF, which will both begin shipping late July 2017. Compatible with full-frame image sensors, these high-speed cine prime lenses are available for EF, E and PL mounts. They are available as individual lenses for a retail price of $4,999.00 USD each, or as part of two and seven lens sets for retail prices of $10,499.00 USD and $24,799.00 USD respectively.

Go fast and wide with the Sigma 14mm T2 Cine Prime

The Sigma 14mm T2 FF Cine Prime lens is the world’s first and only to offer an incredibly fast T2 at this ultra-wide angle focal length for full frame sensors. Bringing remarkable optical performance to the art of capturing moving images, the Sigma 14mm T2 offers cinematographers the opportunity for robust cinematic expression.

Resolving power like nothing ever seen before with the Sigma 135mm T2 Cine Prime
The Sigma 135mm T2 FF Cine Prime offers astonishing rendering performance unmatched by almost any lens on the market. Retaining the optical performance of Sigma’s original Art lens for the still photographer, this exceptional lens enables cinematographers to enjoy the highest image quality for shooting movies.

Both lenses offer the following benefits and capabilities :

• Bright, T2 full frame maximum aperture
• Capable of resolving up to 8K
• Available in Canon EF, Sony E & PL Mounts
• 180-degree focus rotation

The Sigma 14mm and 135mm lenses are fully compatible with full frame sensors. The addition of these lenses to the Sigma cine lineup expands the FF High Speed Prime Line to a total of seven lenses, from a super-wide 14mm to a brilliantly sharp telephoto 135mm.

Pricing for individual lenses and lens sets
The newest cine lens offerings from Sigma will be available individually as well as in sets for the following retail prices.

Individual lenses :

• Sigma 14mm T2 FF – $4,999.00 USD
• Sigma 135mm T2 FF – $4,999.00 USD

Two lens set with case:
Sigma 14mm T2 FF, 135mm T2 FF and a protective lens carrying case – $10,499.00 USD

Seven lens set with two cases :

Sigma 14mm T2 FF, 20mm T1.5 FF, 24mm T1.5 FF, 35mm T1.5 FF, 50mm T1.5 FF, 85mm T1.5 FF, 135mm T2 FF, and two protective lens carrying cases – $24,799.00 USD

The Sigma 14mm T2 FF and 135mm T2 FF Shipping Late July

The Cine 14mm and 135mm lenses and sets will begin shipping late July 2017 for EF, E and PL mounts.

Sigma To Announce 14mm f/1.8 & 135mm f/1.8 Art Lens

Sigma 200-500mm f/2.8 EX DG APO zoom lens

Sigma has been putting out rather good lenses for the last few years. In particular, their Art line of prime and short zoom glass are very good value for the money. Later this year, Sigma may be ready to announce two more Art prime lens - 14mm f/1.8 and 135mm f/1.8

They have also gotten into Cine High Speed zoom lens and Super Zoom lens as well. As my readers know, Sigma and Tamron are third party lens manufacturers. They 'reverse engineer' Canon and Nikon cameras and manufacture after market lens that fit these models. However, sometimes there can be minor hiccups as Canon and Nikon keep trying to outsmart the 'imitators'.

For those who want to save some money and perhaps get a lens that has different focal length from what Canon and Nikon offer, Sigma and Tamron may be a good alternative. For those into wildlife photography, there was a good deal on eBay for the Sigma 150-600mm f/5-6.3 lens.

Many Sigma lenses sold in Europe have gone up in price rather substantially at the beginning of 2017. This list shows the old and new dealer prices for some lenses. below is a recent interview with Mr. Kazuto Yamaki, CEO of Sigma.

An Interview With Sigma CEO, Mr Kazuto Yamaki

Sigma 200-500mm f/2.8 EX DG zoom lens

Sigma has been putting out rather good lenses for the last few years. In particular, their Art line of prime and short zoom glass are very good value for the money.

They have also gotten into Cine High Speed zoom lens and Super Zoom lens as well. As my readers know, Sigma and Tamron are third party lens manufacturers. They 'reverse engineer' Canon and Nikon cameras and manufacture after market lens that fit these models. However, sometimes there can be minor hiccups as Canon and Nikon keep trying to outsmart the 'imitators'.

For those who want to save some money and perhaps get a lens that has different focal length from what Canon and Nikon offer, Sigma and Tamron may be a good alternative. For those into wildlife photography, there is a good deal on eBay for the Sigma 150-600mm f/5-6.3 lens.

Many Sigma lenses sold in Europe will go up in price rather substantially at the beginning of 2017. This list shows the old and new dealer prices for some lenses. Check the latest EU prices on Amazon.de or Amazon.fr. Price increase for Tamron lenses will not be far behind either. If you are planning to buy one, better hurry up.

Below is a video of a recent interview with Sigma's CEO, Mr. Kazuto Yamaki.

Sigma Lens Price Increase Coming For Europe

Sigma has been putting out rather good lenses for the last few years. In particular, their Art line of prime and short zoom glass are very good value for the money.

They have also gotten into Cine High Speed zoom lens and Super Zoom lens as well. As my readers know, Sigma and Tamron are third party lens manufacturers. They 'reverse engineer' Canon and Nikon cameras and manufacture after market lens that fit these models. However, sometimes there can be minor hiccups and Canon and Nikon keep trying to outsmart the 'imitators'.

For those who want to save some money and perhaps get a lens that has different focal length from what Canon and Nikon offer, Sigma and Tamron may be a good alternative. For those into wildlife photography, there is a good deal on eBay for the Sigma 150-600mm f/5-6.3 lens.

Many Sigma lenses sold in Europe will go up in price rather substantially at the beginning of 2017. The list above shows the old and new dealer prices for some lenses. Check the latest EU prices on Amazon.de or Amazon.fr. Price increase for Tamron lenses will not be far behind either. If you are planning to buy one, better hurry up.

Sigma 150-600mm f/5-6.3 DG OS HSM Lens On Sale

Polar bear sow and cubs napping on the tundra in Hudson Bay

Recently, I came back from my Polar bear photo tour in Hudson Bay, Canada. It was quite a successful trip even though the weather was 'mild' by sub Arctic standard and the bears were not able to find sea ice to hunt seals even in mid November. Came across sows with cubs, sub adult and full grown males with reasonably healthy looking weight, this time of the year.

In past years, they would have been able to start heading out to the bay and try and replenish their weight by actively hunting seals. I came across the BBC2 film crew filming and broadcasting the Arctic Live series on the tundra.

You can follow my travels on Facebook , Twitter and see my works on MichaelDanielHo.com. For those who are into wildlife photography, Tamron and Sigma make some good long zoom lens at an affordable price, like the 150-600mm. I am not recommending these manufacturers but like the focal length of these design. Canon is expected to announce their Super Zoom - EF 200-600mm f/4.5-5.6 IS some time in 2017 as well.

There is a large, online camera retailer in New York City selling the Sigma 150-600mm lens (Contemporary and Sport model) with a free USB Dock and a $140 promo saving, till Friday, November 27 (Saving Code is LENSFRIDAY). There are other Sigma lenses on sale as well.

You will not find a link to this retailer because I do not accept any advertisement or commissioned link on my Blog or website and do not solicit your email address for future spamming. I am completely unbiased in my reporting, have no conflict of interest and do not endorse any particular company. Find this company on Google yourself easily.  You can see my equipment bag, upcoming wildlife photo tours and works on MichaelDanielHo.com


Canon Australia is proud to announce that Season One of the brand’s locally conceived and produced photography adventure series, Tales by Light will be available to the global Netflix audience from 11 November.

Shot in stunning 4K resolution, Tales by Light Season One is a six-part series that follows five extraordinary photographers as they push the limits of their craft in little-known, little-covered and little-understood corners of the Earth.
“Having Tales by Light Season One available on Netflix is a wonderful acclamation of the quality and broad appeal of our Australian-made photography series and we are excited that it will now entertain millions of subscribers around the world,” says Canon Australia Director of Consumer Imaging and Executive Producer of the series Jason McLean. “This series is unique and started from our simple aim of celebrating the amazing visual storytellers who push the creative boundaries and it’s great that this concept resonates so well across regional divides.”

Prior to joining the Netflix documentary content line-up, Tales by Light Season One screened initially on the National Geographic Channel subscription network in Australia and New Zealand. Uniting exploration, photography and the natural world, Tales by LightSeason One was produced locally in 2015 and offers a rare glimpse into the eyes and minds of some of Australia and the world’s best photographic storytellers.

WHERE TO VIEW

Click here to watch Season One.

For additional content visit www.canon.com.au/talesbylight

Sigma Announces CINE High Speed Zoom Lens

New York, NY – October 20, 2016 – Sigma Corporation of America, a leading DSLR lens, camera, flash and accessory manufacturer, announced today that the Cine High Speed Zoom 18-35mm T2 and 50-100mm T2 lenses will begin shipping on December 9, 2016 for a retail price of $3999.00 USD. Born from the new Sigma Cine family of products, the High Speed Zoom lenses leverage the outstanding optical design of the company’s world-renowned Global Vision still photography lenses. Combined with the 100% new mechanical lens body design, the Cine lenses meet needs of advanced 6k and 8k cinema production with the core optical quality DNA that has defined the Sigma benchmark of imaging excellence.

See the Sigma Cine Family of Products at PDN/PPE 2016 Expo

Demonstrated for the first time to the public in the United States, attendees to the 2016 PDN PhotoPlus International Conference + Expo (PPE), held at the Javits Convention Center in New York City from October 20-22, 2016, can see first-hand the new Sigma Cine family of lenses:

Cine High Speed Zoom Line – 18-35mm T2 and 50-100mm T2

The high speed zoom line, which is compatible with the Super35 image size standard, offers the constant aperture of T2 throughout the zoom range with superior optical performance that is capable of high-resolution 6K-8K shooting. Delivering the highest image quality in its class, the High Speed Zoom is ergonomically compact and designed for E, EF and PL camera system mounts.

Cine FF Zoom Line – 24-35mm T2.2 FF

Compatible with a full-frame image sensor, the FF Zoom’s outstanding optical performance also supports 6K-8K shooting. Because so few lenses cater to the requirements of the latest digital cinema cameras’ image sensors, this line provides a rare option for cinematographers. The FF Zoom is designed for E and EF camera system mounts.

Cine FF High Speed Prime Line – 20mm T1.5 FF, 24mm T1.5 FF, 35mm T1.5 FF, 50mm T1.5 FF and 85mm T1.5 FF

The Cine High Speed Prime lineup features lenses ranging from 20mm to 85mm, with all five touting an aperture of T1.5. Highly compact and compatible with full-frame sensors, these lenses offer superior resolution. They bring a consistent level of light to the production, offering greater consistency to any film’s color, contrast and overall look before it enters post-production. The FF High Speed Prime line is designed for E, EF and PL camera system mounts.

For more information on the Sigma Cine Lenses, please visit https://www.sigmaphoto.com/cinema-lenses/?link=Sept-M-cine.

Sigma Announces 12-14mm f/4, 85mm f/1.4 Art and 500mm f/4 OS Sport Lens

Sigma 500mm f/4 DG OS Sport, 85mm f/1.4 DG HSM, 12-24mm f/4 DG HSM Art lenses

Cologne, Germany – September 19, 2016 – Sigma Corporation of America, a leading camera, DSLR lens, flash and accessories manufacturer, unveiled its new 85mm F1.4 DG HSM Art, 12-24mm F4 DG HSM Art and 500mm F4 DG OS HSM Sport Global Vision lenses at the Photokina 2016 event (hall 4.2, stands B020, B028 and C029).

“We are thrilled to announce three state-of-the-art additions to the Global Vision line. The Sigma 85mm 1.4 Art has been a highly requested lens and we are very confident those customers who have been waiting for us to deliver this lens will be more than pleased with the superior optical performance and zero compromise,” states Mark Amir-Hamzeh, president of Sigma Corporation of America. “In addition, the re-engineered 12-24mm F4 and highly competitive 500mm F4 Sport lens both embody the world-class performance our Global Vision lenses are known for. We look forward to seeing the incredible images our customers will create using these new Sigma lenses.”

Sigma 85mm F1.4 DG HSM Art – The Ultimate Portrait Lens

Delivering the ultimate in creative expression, the new Sigma 85mm F1.4 Art lens is engineered to support the highest resolution sensors on the market with an exceptional degree of sharpness. The high-performance optical system is purpose-built by Sigma R&D to produce the attractive bokeh effect sought after by discerning photographers. The lens’ advanced architecture features two SLD (special low dispersion) glass elements and one glass element with a high rate of anomalous partial dispersion and refraction. 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, even during continuous AF.

The Sigma 85mm F1.4 DG HSM Art lens supports Canon, Nikon and Sigma mounts. The Nikon mounts feature a brand new electromagnetic diaphragm.

The Sigma 85mm F1.4 Art lens will be available in late October and retails for a recommended street price of $1199.00 USD.

Sigma 12-24mm F4 DG HSM Art Ultra-Wide Angle Zoom

Boasting the renowned Global Vision image quality from center to edge, the new Sigma 12-24mm F4 features the largest aspherical glass mold in the industry, offering photographers an ultra-wide angle zoom with virtually no distortion, flare or ghosting. Encompassing the long history of Sigma wide angle lens development expertise, the new 12-24mm F4 performance highlights include constant F4 brightness and the brand new Sigma AF system with 1.3X torque boost. The 12-24mm F4 features lens elements made with FLD (“F” Low Dispersion) glass, which is equivalent to calcium fluorite in performance. Combined with an optimized power distribution, the result is outstanding image quality from center to edges. With a minimum focus distance of 9.4 inches at 24mm, photographers can compose incredible close-up shots with expansive backgrounds.

The all new Sigma 12-24mm F4 DG HSM Art lens supports Canon, Nikon and Sigma mounts. The Nikon mounts feature the brand new electromagnetic diaphragm.

The Sigma 12-24mm F4 Art lens will be available in late October and retails for a recommended street price of $1599.00 USD.

Sigma 500mm F4 DG OS HSM Sport Lens – Pro Fast-Aperture Prime Super Telephoto

The flagship Sigma super telephoto 500mm F4 Sport lens incorporates the very latest in Sigma optical technology and innovation. Designed for the professional sports and wildlife shooter, the ultra-durable lens features magnesium alloy components, a carbon fiber hood, a water and oil resistant front element, and is dust and splash proof. The 500mm F4 features a drop-in rear filter slot for polarizers, UV and other critical filters. To help prevent damage during shooting and maintenance, the lens is also compatible with the exclusive SIGMA Protector LPT-11 (sold separately).

The lens incorporates two FLD and one SLD glass elements, while the optimized power distribution helps minimize spherical aberration and axial chromatic aberration. The optical system also effectively minimizes transverse chromatic aberration, which can affect the edges of the shots taken in the telephoto range. In addition, image quality remains exceptional when the lens is used with a Sigma Telephoto Converter (sold separately).

Other key performance features include Sigma’s two-mode Optical Stabilizer for enhanced performance when shooting handheld for still subjects or panning and tracking for moving subjects. There is also a customizable AF “return” function for setting the focus position of one’s choice and returning to that preset distance.

The all new Sigma 500mm F4 supports Canon, Nikon and Sigma mounts. The Nikon mounts feature the brand new electromagnetic diaphragm.

The Sigma 500mm F4 Sport lens, in Canon and Sigma mounts, will be available in late October. The Nikon mount will be available in late November. The 500mm F4 will retail for a recommended street price of $5999.00 USD.

All Sigma Global Vision lenses, including the new 85mm F1.4 DG HSM Art, 12-24mm F4 DG HSM Art, and 500mm F4 DG OS HSM Global Vision lenses, can be updated with the latest lens firmware from a workstation or laptop using the Sigma Optimization Pro software and Sigma USB Dock (sold separately).

Tested for Optimum Performance

Sigma lenses are born of well thought-out design concepts, exceptional Japanese craftsmanship and manufacturing, and advanced lens performance testing and evaluation. To this end, Sigma has developed its own A1 proprietary MTF (modulation transfer function) measuring system using 46-megapixel Foveon direct image sensors. Even the most elusive high-frequency details are within the scope of Sigma’s quality control inspections. Every Global Vision lens is A1 tested, analyzed and approved before leaving the factory, ensuring maximum performance out of the box.

For more information on Sigma’s industry leading testing, please visit http://blog.sigmaphoto.com/2012/a1-mtf-testing-for-new-sigma-lenses/

About Sigma Corporation

Craftsmanship. Precision. Dedication. Since 1961, Sigma has been devoted the pursuit of advancing photographic technology. Unique to the industry, the family-owned business produces its high-quality, award-winning camera lenses, DSLR cameras, flashes, filters and accessories from its state-of-the-art manufacturing facility located in Aizu, Japan.

In 2012, the company introduced the Sigma Global Vision with three distinct lens lines: Art, Contemporary and Sport. Designed for industry camera mount systems including Canon, Nikon, Olympus, Pentax, Sony and Sigma, each lens is handcrafted and tested in Japan to ensure a high-performance, premium product that is purpose-built to last.

Sigma continues its tradition of imaging excellence with the mirrorless sd Quattro, sd Quattro H and the compact dp Quattro camera line. Leveraging the ultra-high resolution Foveon sensor, the Sigma Quattro cameras are designed to produce the highest quality image with every shot.

For information about Sigma, please visit www.sigmaphoto.com or follow the company on Twitter, Instagram and Facebook.

Sigma To Announce Three New Lenses Today

* * *  As reported, here's Sigma's official announcement  * * *

Sigma is expected to announce three new lenses today in Cologne, Germany. They are :

• Sigma 12-24mm f/4 DG HSM Art

• Sigma 85mm f/1.4 DG HSM Art

• Sigma 500mm f/4 DG OS HSM Sport 

Tamron Patents 10-24mm f/3.5-4.5 VC Lens

I am back from my Alaska/Canada Wildlife Photo Tour. It was my annual shoot and this time I put the Canon EOS-1D X Mark II camera to more real world tests. Beginning to get back to my daily routine and keeping my readers up to date on the latest photography news while I was away.

Tamron is planning to wow the Photokina attendees with multiple lens announcements in September. The latest patent discovered by Egami is the 10-24mm f/3.5-4.5 for APS-C sensors. By the way, Sigma is planning to do the same and take a look at what Canon has installed for us for the rest of 2016, including the EOS-5D Mark IV camera, scheduled to be announced August 25.

Patent Publication No. 2016-126280

• Published 2016.7.11
• Filing date 2015.1.8
• f 10.303 15.199 23.483
• FNO = 3.6 -. 4.1 – 4.6
• 2ω = 111.70 – 86.59 – 62.07
• Negative positive and negative positive
• Anti-vibration (third group)
• Inner focus (rear group of the first group)

Sigma 85mm f/1.4 Art Lens Coming Soon

I have just returned from my Upper Amazon/Peruvian Highlands Photo Tour testing the Canon EOS-1D X Mark II camera in hot, steamy jungles and cold, two miles plus high, Andean mountains. Overall, I am quite impressed by the new body but now I have to take some time to get back to the daily routine, process the photos and get ready for my next trip to again test the camera in a whole new part of the world and environment.

Sigma is expected to wow photographers again during Photokina in Cologne, Germany this September. My sources informed me they are ready to announce the 85mm f/1.4 Art lens, plus other glass, just before the big show.

My readers know Sigma has been one of the more innovative lens manufacturers in the last few years. Their 'standout' lens include the 50mm f/1.8 Art, 200-500mm f/2.8 APO EX DG, 50-100mm f/1.8 DC Art, etc. The 85mm f/1.4 Art is now out for field tests and should be ready in a couple of months.

Canon is also ready to announce more lens and cameras for the remainder of the year. This will be a bumper year for photographers. Keep checking back for the latest news and development. More to come. 

New Sigma Patent For 24-70mm f/2.8 DG OS Art Lens

Egami discovered a new Sigma patent for the 24-70mm f/2.8 DG OS HSM Art lens. This is hardly surprising since Sigma has been on a roll in the last few years and is steadily marching towards a well rounded line of high quality, Art lens for both Canon and Nikon mounts. We may see this lens announced late in 2016.

Patent Publication No. 2016-38502 (Google Translated)

• Published 2016.3.22
• Filing date 2014.8.8
• Zoom ratio 2.74
• Wide-angle intermediate telephoto
• Focal length 24.85 50.00 68.00
• F-number 2.92 2.92 2.93
• Full angle of view 2? 83.71 45.71 34.33  
• The image height Y 21.63 21.63 21.63
• The total lens length 150.73 167.12 178.30

An Interview With Kazuto Yamaki of Sigma Corporation

Mr. Kazuto Yamaki, CEO of Sigma Corporation

Sigma CEO Kazuto Yamaki was recently interviewed by Dave Etchells at the CP+ 2016 show in Yokohama, Japan. My readers know I am rather impressed by the lens offering from this company, especially the Art line and the recently announced 50-100mm f/1.8 lens. I have been a user of Sigma's lens for many years now but not a big buyer of their glass because I am waiting for Canon to release new models before deciding on new, niche purchase for my equipment bag.

Below is an excerpt form the interview : 


Dave Etchells : We’re really surprised and excited by your new mirrorless cameras. That was a big surprise. We had no idea you were working on them, and they’ve generated a lot of interest and debate with our readers. Can you give us some background on why you decided to get into the mirrorless market?

Kazuto Yamaki : I was also surprised at the response from the customers. Actually, it was quite a natural decision for us, because when we started the project we discussed what the camera for the next generation should be. And we discussed what is the advantage of [our cameras]. And of course, it’s the Foveon X3 sensor. It’s a very sharp image, and very crisp per-pixel. A small focus error in the image would be very visible, though, because the sharpness per pixel is quite high for our camera. So there are many advantages [for a mirrorless camera over a DSLR]. The [lower] focus accuracy and mirror shock [of a DSLR], does not exist in the mirrorless system. So we decided to go to mirrorless.

DE: And with the sd Quattro H, we haven't seen a camera with an APS-H sensor for a long while, since the Canon 1D Mark IV. Why was it that you went that route, rather than a full-frame sensor? Is it still difficult to scale Foveon all the way to full-frame, or...?

KY: We thought that if we go to full-frame, the file size would be huge and the processing speed would be very slow. So we thought that APS-H is a good size for the customers.

DE: A good compromise, yeah. You make APS-C and full-frame lenses. Will your APS-C lenses actually have enough image circle to also cover APS-H?

KY: Basically, you cannot use the same lens for APS-C to APS-H. There might be some exceptions, but our official statement is that we cannot.

The Sigma sd Quattro H is the first camera we've seen in years to feature an APS-H sized sensor.
DE: So it’s really full-frame lenses only. Can we discuss the tradeoffs in going with the existing SA lens mount, versus one with a flange-back distance that's been optimized for mirrorless cameras? I mean, we realize that a new Sigma camera needs to be natively compatible with Sigma's SA lenses, but would an adapter approach have allowed you to develop smaller lenses for the system in the future, that would still be compatible? Or is it more that the oblique angle required by the short flange-back distance isn't compatible with a stacked sensor design like the Foveon technology? If you have a three-dimensional structure on the chip and you have a very short flange-back distance, unless the lens has been designed to be telecentric, you can end up with shading or color problems, or whatever. What can you say generally about the decision to go with the SA-mount?

KY: We simply wanted to support our existing customers. They use SA lenses, so we needed to develop a camera that an existing customer can use as-is.

DE: Ah. How does the flange distance on the SA-mount compare to other mounts like Canon or Nikon?

KY: Very similar.

DE: So maybe there's not room to put in an adapter to run, say, a Nikon lens on it? I'm thinking in terms of the adapters, like Canon's EF-mount has a fairly shallow flange distance, so you can put an adapter on it and then use a Nikon lens. I was wondering if the SA-mount is shallow enough that there's room for an adapter?

KY: Yes. Physically, it's possible.

The Sigma SA-mount has a flange distance of 44 millimeters, identical to that of Canon's EF-mount.
DE: Ah, OK, good to know. High ISO sensitivity has always been a challenge for Foveon sensors in the past. Is that an area that these new sd Quattro cameras address, with the bigger sensor being better for you? Does the larger sensor do better on low-light and high ISO shooting? Or you did you give it more pixels, so it has the same pixel size?

KY: It has the same pixel size, so it is the same. But for the sd Quattro we changed some algorithms in the image processing, so we could improve the high ISO performance, by maybe about one stop.

DE: Ah, about one stop - and that's as a result of processing, as opposed to sensor design.

KY: Yeah.

DE: Turning to lenses, one comment about your f/1.8 zooms: The 18-35mm was amazing, and now the new 50-100mm is a very exciting lens for us as well. We're eager to see that, and I was briefed on its design yesterday by some of your lens designers. [Ed. Note: We'll hopefully have an overview of the presentation Sigma's lens designers shared with me, if I can just find enough time between business trips and running the company :-/] It was very fascinating. Can we share any information on a potential roadmap for more f/1.8 Art lenses? Are we going to be seeing some longer focal lengths, or some other types of zooms in there? I know you can't talk about specifics...

The Sigma 50-100mm F1.8 DC HSM | Art lens aims to pair the image quality of a prime-lens with the versatility of a zoom-lens.
KY: Yes. But I know some customers like our f/1.8 zoom series, including some videographers. Because most of the videos use the small crop sensor, a format they call "Super 35", which is similar to APS-C.

DE: Yes, "Super 35" is very close to APS-C.

KY: So we'd like to expand this series, but it's quite challenging, so we are not sure if we can develop another lens.

DE: They're difficult designs to execute.

KY: Yes, yes.

DE: Very complex.

KY: Actually, it's a matter of the mechanical construction. If there was more flexibility in terms of mechanical construction, we could probably make any kind of lens, but if we make a lens for a system camera, there's a mechanical limitation for the diameter of the mount, and many other limitations. So this makes it difficult to develop f/1.8 zoom lenses.

DE: Ah; it's a lot about your restrictions for the mount and that sort of thing. I know in the case of the 50-100mm, talking to the engineer who designed it, that with the floating focus elements, the requirements for the actuating cam were very, very constrained. It has to be extremely precise in its motion, so that was a challenge for him.

KY: Right, yes.

In the quest for image quality, Sigma's 20mm F1.4 DG HSM | A lens relies on two FLD, five SLD and two aspheric elements, including a huge 59mm double aspheric.
DE: And also, those lenses use a lot of very sophisticated glass. For instance, the 20mm uses lots of aspherics and lots of FLD and SLD glass, and then in the teles, there are no aspherics, but even more SLD and FLD. So do you see with the f/1.8's going to longer focal lengths, isn't that where the demand is?

KY: It's quite challenging, because the lens gets so big.

DE: Yes, I can see that. Actually, I'm surprised that the 50-100mm isn't bigger than it is. I mean, you said it was about the same size as a 70-200mm f/2.8, give or take. It's actually a little bit smaller, I think.

KY: Yes, because we wanted to achieve very high image quality. We applied the same concept as for the 18-35mm f/1.8.

DE: Yes.

KY: The zoom range is very short, only about two times. The concept is that each focal length has optical performance equivalent to prime lenses. That's the concept.

DE: Right.

KY: So that's the first priority of the concept of the product, so that makes it bulkier and heavier.

The Sigma 18-35mm F1.8 DC HSM is the world's first f/1.8 constant aperture zoom lens.
DE: Yeah, that came out in the presentations. Some people might look at a zoom lens with such a short ratio and say, "Well, why bother?" But really it's giving you a 50mm f/1.8, a 75mm f/1.8, an 85mm f/1.8, and a 100mm f/1.8, so all of the standard medium focal-length primes are covered by just one lens.

KY: Right.

DE: Also, they showed me an MTF chart that compared it to an 85mm f/1.4, I think it was, and it was just amazing. I mean, OK, it's a little bit smaller aperture, but it was so much sharper up to the edges.

KY: Yeah.

DE: I'm really eager to get that into our lab to test! For what it is, it seems like it's pretty affordable, too. It's something like $1,100 in the US? Although I said to the gentleman who was translating in the discussion with the lens designer that I thought it was a pretty good price and he said "Oh, good!" because you were wondering how to set the price on it when it came out. :-)

KY: Actually, I wanted to price a bit higher because the manufacturing cost is so high.

DE: Ah.

KY: But those whom still use the APS-C sized camera, they have a limited budget, because the price of the camera body is low compared to full-frame, so the lens should be close to that.

Sigma's sd Quattro-series cameras debut a new hybrid autofocus system pairing both phase and contrast detection. Both nine-point and free-move focus modes are available.
DE: Yes. So you really would've been happier if it'd been $1,300 instead of $1,100 or something, but... Yeah. I'm sure it'll make a lot of photographers happy at that price point. (You've just got to make sure you stay in business to keep making more lenses!)

Let's see, so the new sd Quattros have a hybrid AF system, which we presume was developed with attention to performance with lenses that weren't optimized for contrast-detect AF. Do you have any sense of what kind of AF performance we can expect? Will it be comparable to existing mirrorless cameras from companies like Sony, Olympus or Panasonic? And will older HSM lenses still autofocus well, or do you recommend newer models with current focusing-motor technology?

That's a very long question there; I guess the short version is, you have a hybrid autofocus system now. Is that primarily to assist with older-design lenses that aren't suited for contrast-detect?

KY: The camera has to support the lenses which were developed for the DSLR, so if we only have a contrast AF, the focus speed will be very slow. So we needed to have phase-detection, yes.

DE: Yes. And does the phase-detect go all the way to final focus, or is it that it gets close, and then contrast-detect adjusts...

KY: Yes.

DE: It's the latter, it uses both all the time?

KY: Yes, yes.

DE: We're curious about the hybrid AF system and a bit more detail on it. For example, there are nine selectable AF points, but then there's also a free-movement AF point. Does that mean that there are many more phase-detect pixels on the sensor than just nine sites?

KY: I think we have more.

DE: You have more, so, yeah. Because it seems like -- and I haven't had a chance to look at it myself yet -- but it seems like you can move this other focus point around. So you probably have a wide array of them that you can just pick some.

KY: Sorry, I don't know.

DE: Maybe a question for the engineers...

KY: Yeah, yeah. Sorry.

DE: Another related question for the engineers: If there are additional phase-detect pixels that aren't part of the normal points, do some of those get used during continuous autofocus, if it's tracking a subject or not? Or is it just always those fixed points?

KY: Yeah, we don't have many phase-detection pixels, because they cannot capture the image. [Ed. Note: As we've learned in other recent technical interviews, the difference in "phase" means you can't use the phase-detect focus pixels on an image sensor to help form the final image. It's only when the subject for that particular pixel is in focus that you can just make a simple brightness adjustment to compensate for the shading that makes them phase-detect pixels.] So we have a very limited number of phase-detection pixels. But in order to improve that kind of functionality, we need to develop an algorithm to support it. But this is the first camera for us with that...

DE: Yes, the first camera for you that has on-chip phase-detect. Were there any specific factors that you needed to take into consideration, to do phase-detect on a Foveon sensor, as opposed to conventional CMOS? Was there anything different about how you had to implement it?

KY: It's basically the same.

DE: And so this is really a completely new sensor for you. The APS-C sensor in the dp Quattro series did not have any phase-detect at all.

KY: No.

DE: So it's not that they were they there before but just weren't used. Overall, though, it sounds like that the basic sensor architecture is the same, that the change in ISO is just the processing, so your unit cell in the chip is pretty much the same.

KY: The pixel architecture is the same.

DE: I guess if you had any, you would have said so, but do you have any estimates on pricing or availability for your mirrorless camera yet?

KY: I have not decided yet.

DE: Do you have any sense of when it might hit the market, or is that...

KY: The sd Quattro will be probably sometime in the early summer. The Quattro H will maybe be in the autumn time-frame.

DE: Ah, OK. Do you have any idea what the battery life might be? Because you have a battery grip that adds two batteries, so with three batteries do you think the battery life would be comparable to a DSLR...

Sigma's PG-41 Power Grip accessory for the sd Quattro-series cameras will triple battery life, thanks to its provision for not one but two extra batteries beyond that in the camera itself.
KY: Compared to the other companies' battery life, probably [it will] be shorter [per pack], but we're still working on the firmware, so we still don't know.

DE: As, so you may be able to reduce the power consumption. And would the sd Quattro with the three batteries be similar to an SLR with just one?

KY: Probably, yeah.

DE: Well, that'd be good, because you'd be able to have a reasonable shooting time...

KY: Yes.

DE: I haven't actually had a chance to handle the cameras out on the booth yet, but there was a question about why the EVF was placed where it was, centrally as opposed to on one side. Because some people like the viewfinder on the side, so their nose doesn't hit the screen.

KY: Oh, yeah, yeah.

DE: But then maybe other people are used to having them in the middle on SLRs. Did you give some thought to where the viewfinder would go, and was there a discussion over it, or was it just kind of "We'll put it in the middle like the SLRs"?

KY: We discussed it a lot, and we concluded that location [was the best]. After we release the product we'd like to listen to the customers' opinions...

DE: Ah, and see what actual customers have to say. Separately, it was nice to see the introduction of a new mirrorless lens, the 30mm f/1.4 DN, especially for a Micro Four Thirds mount. You'd mentioned in a past interview that it probably wouldn't be cost-effective for you to produce lenses just for Micro Four Thirds. The 30mm f/1.4 seems to follow your idea, sharing the same lens construction for APS-C and Micro Four Thirds...

KY: Yeah.

Sigma's 30mm f/1.4 DN lens is the first f/1.4 optic designed for Micro Four Thirds and Sony E-mount cameras.
DE: And so will we be likely to see more of that, where you'll take, you know, an APS-C design and give it a Micro Four Thirds mount?

KY: Yeah.

DE: That makes a lot of sense.

KY: Yeah. If we can increase the sales volume, we can reduce the cost, and we can provide the products which the customers want.

DE: Yeah, so if you had to design one just for Micro Four Thirds, the volume would be too low, so it would get too expensive.

KY: Yeah.

DE: That makes perfect sense. What was the reason behind offering the new sd Quattro with two different sensor sizes, rather than only selling the larger one? And a follow-on question to that is which model do you expect to sell more of eventually?

KY: Ah, I'm still not sure, but the APS-H version, the file size is huge, and the processing speed [comparatively] slow, so we still believe that the normal APS-C size will be a kind of standard model.

DE: Yeah.

KY: Those who really like the...

DE: That really want the maximum resolution...

KY: Yeah, at the cost of the processing speed or file size, they should choose APS-H. But we feel we cannot recommend the APS-H camera to [just] anybody.

DE: ...because of those reasons, that it's slower and the file size is so big. And if that were your only model, people would be saying "Oh, it's so slow", or "the files are too big"

KY: Yeah.

The Sigma sd Quattro-series cameras have an unusual side-by-side monitor arrangement with both a 3.0-inch main display and a secondary LCD info display to its right.
DE: The follow-up question is how production will be allocated between the two models. I imagine the answer is "We don't know yet, because we don't know what demand will be." The sd Quattro H has a very interesting dual-monitor arrangement. Was the dual monitor feature something intended for the sd Quattro series from the beginning, or was that added later in the development?"

KY: When we're working on the body design, we decided [to implement that feature].

DE: You decided at that point, yeah.

KY: Probably at a very early stage.

DE: And then there's, as always, the standard question about video... As with other recent Sigmas, the sd Quattros do not record video. Is that as a result of the Foveon X3 sensors? Are there technical limitations that do not allow these cameras to record video? And moving forward, do you think that at some point there will be a video capability? I'm guessing the main thing with the video is that it's so complicated to do the processing for the color separation, right? You've got to try to do that on the fly?

KY: No, mainly the issue is the data output speed.

DE: Oh, readout from the sensor.

KY: Readout, yes, because we have the three-layer stack, so the data size is about two times or three times [as much as a traditional sensor].

DE: OK, so it takes two or three times longer to read out.
[Ed. Note: This is an interesting point, that hadn't occurred to me. The Foveon chips really do have three separate color layers in each pixel, so there's three times as much data to read out as a conventional sensor with the same number of pixels.]

KY: We could make super-fast readout performance, but in this case we'd have to sacrifice other features, like [having a lower] pixel count or something.

DE: Yeah.

KY: So we set our target customer as the still photographer. We cannot implement many things, because we have to develop our own sensor, and we have to develop the processor, so we have to carefully select the target customers, and implement the features which will be most useful to them.

DE: Yes, you have to pick your shots. If you tried to do video, then other areas would suffer, so you chose to focus on still photography.

DE: Changing topics again, the 50-100mm is shipping in... April, is it?

KY: April.

DE: April, so coming up soon. And the 20mm f/1.4 has been shipping for a while?

KY: Yeah, it's available in the market.

DE: And how is that selling, is that being well-received?

KY: So-so.

DE: It's a little more of a special-case kind of lens than something like a 30mm, the 30mm is a more accessible focal length for people.

KY: Right, yeah.

DE: Yes, when you get to a certain point with wide-angle, it really changes how you compose images. 35mm is easy, 30mm takes a little more thought, but really wide angles take a very different approach. I know, I've done very little wide-angle shooting and I just have to think completely differently to compose well with a super-wide lens.

KY: Yeah.

DE: Well, I think that covered all the questions I had for you. Thanks again for your time, you're always a very interesting interview subject, for myself and our readers as well, I think!

KY: Thank you.

Sigma 50-100mm f/1.8 DC HSM Lens Sample Photos

Sigma announced their 50-100mm f/1.8 DC HSM Art lens at the CP+ Show on February 25 in Yokohama, Japan. This is an interesting and fast zoom lens designed for APS-C cameras, in the highly successful Art line of glass. Take a look at some sample photos taken with a pre-production lens at the CP+ Show. I am interested in this lens for wildlife photography and may acquire it for my equipment bag.


Sigma 50-100mm f/1.8 DC HSM Art Specifications (Google Translated)

• Lens construction: 15 group 21 sheets – three FLD glass. 
• One SLD glass. 
• One High refractive index, high-dispersion glass 
• One High refractive index SLD glass
• Filter Size : 82mm
• Minimum shooting distance: 95cm
• Maximum magnification of 1: 6.7
• Total length: 170.7mm
• Maximum diameter: 93.5mm
• Weight: 1490 g
• Aperture blades: 9
• Ultrasonic motor of the new development that has been thinned
• Inner focus, inner zoom
• Suggested retail price $1,099 in the U.S.A.
• Mounts for Canon, for Nikon, for sigma
• Shipping date - mid to late March

Sigma Announces 50-100mm f/1.8 and 30mm f/1.4 DC Lens

Sigma 50-100mm f/1.8 DC HSM Art lens

KANAGAWA, JAPAN — February 23, 2016 – Sigma Corporation of America, a leading DSLR lens, camera, flash and accessories manufacturer, today announced the addition of two high-performance APS-C format lenses to the Sigma Global Vision product line : Sigma 50-100mm f/1.8 DC HSM Art Lens and the Sigma 30mm f/1.4 DC DN Contemporary Lens.

“Sigma’s aim is to provide high-performance lens options that lead with innovation and break new boundaries for every photographic scenario our customers can dream up,” states Mark Amir-Hamzeh, president of Sigma Corporation of America. “These new lenses build on Global Vision’s great IQ technology and reflect this goal, delivering immense value, quality and performance that the Sigma brand is known for.”

Sigma 50-100mm f/1.8 DC HSM Art

Building on the groundbreaking Sigma Global Vision 18-35mm F1.8 DC HSM Art Lens, the new Sigma 50-100 F1.8 (75-150mm on 35mm format) mid-range zoom lens embodies the same engineering prowess to deliver outstanding prime lens-like results. Factoring in the APS-C image circle of 1.5x, the 50-100mm F1.8 covers three popular short tele prime focal lengths: 85mm, 105mm and 135mm. Like the 18-35mm F1.8, the new 50-100mm F1.8 maintains a constant F1.8 aperture yielding exceptional brightness and resolution throughout the zoom, while simultaneously maintaining focus as the lens is zoomed, a feature videographers will greatly appreciate.

Sigma Art Line Image Technology Innovation

• Features three FLD (F Low Dispersion) glass elements, one SLD (Special Low Dispersion) glass element, and one high-refractive index, high-dispersion glass element to minimize aberrations.
• Redesigned and enhanced, the new Hyper Sonic Motor is 30% slimmer and provides fast and accurate AF.
• Highly durable polycarbonate diaphragm made with fluorine; blades feature carbon feather film offering exceptionally smooth operation even during continuous shooting.

Outstanding Zoom Lens Maneuverability

• Inner focusing and zoom design offer versatile shooting options
• Tripod socket for stable, comfortable operation
• Features 21 elements / 15 groups, Minimum Aperture: F1.6, 82mm filter thread, Minimum Focus Distance: 37.4in, Dimensions: 3.7×6.7, Weight: 52.6oz

The new Sigma 50-100mm f/1.8 Art will be available in Canon, Nikon and Sigma mounts. For more information, please visit www.sigmaphoto.com/50-100mm-f1-8-dc-hsm-art

Sigma 30mm f/1.4 DC DN Contemporary 

Combining outstanding optical performance and compact design, the new affordable Sigma 30mm f/1.4 DC DN Contemporary Lens brings immense value to mirrorless cameras. Boasting superior image quality with F1.4 brightness, the versatile lens covers a wide range of photo and video capture scenarios, delighting users with its beautiful bokeh effects.

Contemporary Line Performance and Value

• Represents first affordable f/1.4 performance lens for the mirrorless market
• Sigma engineered quality within a sleek compact design
• Fast, smooth AF stepping motor designed to support video
• Features one aspherical element and one double-sided aspherical element producing imaging quality comparable to the Art line.
• Features 9 elements / 7 groups, Minimum Aperture: F16, 52mm filter thread, Minimum Focus Distance: 11.8in, Weight: 9.3oz, Dimensions: 2.6×2.9in.

The new Sigma 30mm f/1.4 DC DN Contemporary Lens will be available in Sony E-Mount and Micro Four Thirds mount. For more information, please visit www.sigmaphoto.com/30mm-f1-4-dc-dn-c

Sigma Global Vision lenses including the new 50-100mm f/1.8 DC Art and 30mm F1.4 Contemporary lenses can be updated with the latest lens software from a workstation or laptop using the Sigma Optimization Pro software and Sigma USB Dock (sold separately).

Tested for Optimum Performance

Sigma lenses are born of well-thought-out design concepts, exceptional Japanese craftsmanship and manufacturing, and advanced lens performance testing and evaluation. To this end, Sigma has developed its own A1 proprietary MTF (modulation transfer function) measuring system using 46-megapixel Foveon direct image sensors. Even the most elusive high-frequency details are within the scope of Sigma’s quality control inspections. Every Global Vision lens is A1 tested, analyzed and approved before leaving the factory ensuring maximum performance out of the box.

For more information on Sigma’s industry leading testing, please visit http://blog.sigmaphoto.com/2012/a1-mtf-testing-for-new-sigma-lenses/

Specialized Mount Conversion Services

Ensuring continued ROI, Sigma will convert the current mount of your Sigma Global Vision lens to another of your choice. Sigma lenses currently from the Contemporary, Art or Sports line, in Sigma, Canon, Nikon, Sony, Pentax mounts can be converted to Sigma, Canon, Nikon, Sony or Pentax*.  Mirrorless lenses can be converted to Micro Four Thirds and Sony-E Mount. They cannot be converted to either an APS-C or a Full Frame format.  *For specific details, please visit http://www.sigmaphoto.com/service-support/mount-conversion-service