Camera
Field review: Sigma 28-70mm F2.8 DG DN
Introduction
The Sigma 28-70mm F2.8 DG DN Contemporary lens is a very compact, lightweight standard zoom lens for full-frame and APS-C mirrorless cameras. It boasts a constant F2.8 maximum aperture across its zoom range and is available for both the Sony E-mount, as well as for Leica, Sigma and Panasonic cameras from the L-mount Alliance.
It’s aimed at photographers and videographers who want a bright walkaround zoom and the bokeh possibilities that a wide aperture brings but who don’t want the size, weight and cost typical of many F2.8 zooms. Travel and landscape photographers in particular will find its modest size and weight appealing, and it also offers potential as a portrait lens or for video capture.
Available now, the Sigma 28-70mm F2.8 DG DN Contemporary carries a list price of $899.
All images edited in Adobe Camera Raw 13 with adjustments limited to white balance, exposure, highlights, shadows, white and black levels. Sharpening and noise reduction at ACR defaults.
Key specifications:
- Mount: E-mount (Sony) or L-mount (Panasonic, Leica, Sigma)
- Focal length: 28-70mm (42-105mm on APS-C bodies or with APS-C crop)
- Aperture range: F2.8 – F22
- Stabilization: None
- Filter thread: 67mm
- Close focus: 0.19m (7.5″) wide / 0.38m (15.0″) tele
- Maximum magnification: 0.30x (wide) / 0.22x (tele)
- Diaphragm blades: 9
- Hood: Included
- Weight: 470g (1.04 lb)
- Optical construction: 16 elements in 12 groups (2 FLD, 2 SLD, 3 aspherical)
ISO 100 | 1/320 sec | F8 | 36mm | Panasonic S1R Photo by Barney Britton |
There are several alternatives to the Sigma 28-70mm F2.8, although only one of these is available for both the E-mount and L-mount: The Sigma 24-70mm F2.8 DG DN Art. It’s priced $200 higher, is 21.4mm (0.8in) longer and fully 75% heavier.
For the added cost and heft, the Sigma 24-70mm Art offers even better image quality and includes an 11-bladed aperture. It also provides a little extra wide-angle coverage and full weather sealing. If you can stretch your budget a little further, we find it’s a worthwhile choice.
ISO 100 | 1/500 sec | F5.6 | 42mm | Panasonic S1R Photo by Barney Britton |
Sony E-mount shooters also have access to the more affordable Tamron 28–75mm F/2.8 Di III RXD. It’s just 16.3mm (0.6in) longer, weighs 80g (2.8oz) more, and gives you a fractionally more powerful 75mm telephoto than the Sigma 28-70mm. It also offers full weather-sealing versus the mount-only sealing of the Sigma 28-70mm F2.8.
Yet despite coming in lighter and smaller than the Sigma, it’s $100 less expensive. But if portability is your primary concern and you don’t need all-weather shooting capability, then the Sigma’s length and weight savings are certainly enough to be noticeable.
The deep-pocketed and less size/weight-conscious may also want to consider the Sony FE 24-70 mm F2.8 GM ($2099.99) for E-mount or the Panasonic Lumix S PRO 24-70mm F2.8 ($2199.99) for L-mount. Both are not only significantly pricier but also just a little larger and heavier again even than the Sigma 24-70mm Art.
Compared to…
Sigma 28-70mm F2.8 DG DN | C | Sigma 24-70mm F2.8 DG DN | Art | Tamron 28–75mm F/2.8 Di III RXD | |
---|---|---|---|
Price (MSRP) | $899 | $1099 | $799 |
Mount(s) | Leica L and Sony E | Leica L and Sony E | Sony E |
Optical construction | 16 elements, 12 groups | 19 elements, 15 groups | 15 elements, 12 groups |
Aperture diaphragm | 9 blades | 11 blades | 9 blades |
Weather sealed | Yes, mount-gasket only | Yes | Yes |
Minimum focus distance / max magnification | 0.19 m (7.5″) / 0.30x | 0.18 m (7.1″) / 0.34x | 0.19 m (7.5″) / 0.34x |
Filter size | 67mm | 82mm | 67mm |
Diameter x Length (no hood) |
L-mount: 72.2mm x 101.5mm (2.8″ x 4.0″) E-mount: 72.2mm x 103.5mm (2.8″ x 4.1″) |
L-mount: 87.8mm x 122.9mm (3.5″ x 4.8″) E-mount: 87.8mm x 124.9mm (3.5″ x 4.9″) |
73mm x 117.8mm (2.9″ x 4.6″) |
Weight | 470g (16.6oz) | L-mount: 835g (29.5oz) E-mount: 830g (29.0oz) |
550g (19.4oz) |
Handling
As you might expect, the featherweight Sigma 28-70mm F2.8’s body is predominantly constructed from polycarbonate, although it does still have a metal mount and build quality is good. And while it isn’t fully weather-sealed like its nearest rivals, the mount still includes a seal that should help protect your camera body from the elements, if not the lens itself.
And since it is so lightweight, balance is very good. Regardless of the mount variant you choose, it shouldn’t feel front-heavy on any body you might want to pair it with.
With no built-in image stabilization, there are only three controls in total: A pair of very nice, well-dampened zoom and manual focus rings and a focus mode selector switch on the left side of the barrel.
Up front, you’ll find 67mm filter threads. That’s the same size as used by its Tamron rival, while the Sigma 24-70mm F2.8 opts instead for a larger 82mm filter thread.
Autofocus and focus breathing
Autofocus comes courtesy of a stepper motor that drives just a single lightweight focusing element, and the result is swift and silent AF. It takes just one second or less to fully rack the autofocus from the 19cm (7.5in) minimum focus distance to infinity. The linear motors in the Sony 24-70mm F2.8 GM or Canon’s RF 24-70mm F2.8L may be a tad faster, but for most use cases, the Sigma’s autofocus is more than fast enough.
Despite its fairly close focusing distance, this isn’t a true macro lens. The maximum magnification of 0.30x (1:3.3) occurs at wide-angle, and if you zoom to the 70mm position, you’ll need to move back to 38cm (15in) from your subject, resulting in a weaker but still respectable 0.22x (1:4.6) magnification at telephoto.
ISO 100 | 1/1000 sec | F2.8 | 61mm | Panasonic S1R Photo by Barney Britton |
In terms of video autofocus, the Sigma 28-70mm DG DN has the potential to be a really great option. Not only does it offer silent autofocus drive and very nicely-damped manual focus, but it also has well controlled focus breathing. There’s only a bit at the 28mm wide-angle end and very little at all by the time you zoom in to 70mm.
Image quality
Life is all about compromises. With a bright, continuous aperture and minimal size and weight being the key elements of its design, it’s not surprising at all that the Sigma 28-70mm F2.8 DG DN’s image quality can’t quite compete with larger, more expensive alternatives like Sigma’s own 24-70mm F2.8 DG DN Art.
That said, the 28-70mm F2.8 Contemporary still offers solid image quality. This is especially true if you’re willing to stop down a bit, don’t shoot with an extremely high-res body or don’t need perfection in the corners. Let’s take a closer look.
ISO 100 | 1/80 sec | F4.5 | 49mm | Panasonic S1R Photo by Barney Britton |
Sharpness
Shooting wide-open at F2.8 (which you’ll quite likely want to spend much of your time doing if you’ve bought this lens for its bright maximum aperture), sharpness is very acceptable in the center of the frame at 28mm and remains pretty good even once you zoom in to the 70mm telephoto.
Stopping down to F5.6, we see a slight improvement in sharpness at wide-angle and a bigger improvement at telephoto, since the lens is softer wide open at 70mm than it is at 28mm. You’ll appreciate this improvement in sharpness more if you’re shooting with a high-resolution camera. We tested with both the 42-megapixel Sony A7R III and 47-megapixel Panasonic S1R; with a 24-megapixel body, that difference would be much less noticeable.
ISO 100 | 1/500 sec | F2.8 | 58mm | Sony A7R III Photo by Chris Niccolls |
Sharpness drops off a little at the corners on the wide end at F2.8, but stopping down to F5.6 gives a relatively flat field of focus and improved corner sharpness. That said, focusing in the corner yields higher corner sharpness than focusing in the center and stopping down, indicating a curved field of focus. Focusing in the corner and stopping down yields even better corner sharpness, as expected. The not-so-flat field of focus, at least in part, contributes to the peripheral softness when focusing centrally.
This might be an issue if you like to shoot landscapes (or brick walls) wide open but, practically speaking, stopping down the lens will yield decent edge sharpness. Meanwhile, if you need optimal sharpness off-axis, simply use an off-center AF point (rather than using the ‘focus and recompose’ method).
Results at 70mm follow a similar pattern, but with softer results overall, particularly at close focus distances. Wide open, portraits can often look a little dreamy.
ISO 100 | 1/1250 sec | F5 | 61mm | Panasonic S1R Photo by Barney Britton |
For most practical purposes, however, the Sigma 28-70mm is easily sharp enough. For portrait shooting, just make sure you use an AF point over your subject for focus to overcome any issues with field curvature, as you should with any lens and modern autofocus system. And for wide-angle landscape shooting, stopping down to F5.6 will help, and by the time you reach F8 or F11, you’ll be really pleased with the results.
Vignetting and distortion
When it comes to distortion, we need to discuss the Leica L-mount and Sony E-mount versions of the lens separately. That’s because if you’re an L-mount shooter, distortion is corrected automatically in both JPEG and Raw files, but if you’re shooting Raw on the E mount variant on a Sony body and using Adobe software, there’s (currently) no correction applied for distortion.
Distortion isn’t an issue for the L-mount version thanks to automatic correction, but Sony E-mount variants show some barrel distortion at wide-angle and prominent pincushion at telephoto.
Shooting on a Sony A7R III body, our samples show some barrel distortion noticeable at wide-angle, which changes to become quite prominent pincushion by telephoto. By contrast, our samples shot on a Panasonic Lumix DC-S1R show practically no distortion, thanks to automatic correction. Raw shooters of any mount who use Capture One have more options here, as it can use the embedded distortion correction metadata to correct the image.
Distortion isn’t an issue for the L-mount version thanks to automatic correction, but the Sony E-mount variant shows some barrel distortion at wide-angle and quite prominent pincushion at telephoto.
ISO 100 | 1/2000 sec | F4 | Sony A7R III
Photos by Chris Niccolls
Vignetting is not a concern for the Sigma 28-70mm F2.8. It’s only really noticeable at telephoto, and even there is minor and easily corrected.
Bokeh
There’s both good news and bad news on the bokeh front. The Sigma 28-70mm F2.8 DG DN’s bokeh has a really pleasing, smooth look to it, with only minimal onion ring effect and smoothly-rounded, step-free edges even when stopped down to F4.
On the other hand, it’s quite prone to cat’s eye effect when shooting wide-open, giving the bokeh more of a football (or for non-Americans, rugby ball) shape the closer it gets to the corners. And that problem is not limited just to those corners but extends quite a long way towards the center of the frame.
While out-of-focus highlights start taking on a football-like shape fairly quickly away as you leave the central region of the frame, the good news is the effect is fairly modest until you reach the very edges and corners. Here, the effect is not so much cats eye as it is truncation of the optical cone due to mechanical obstruction (see the odd shapes in the image below).
Stopping down helps significantly, though it doesn’t entirely solve the problem at the extremes of the image. To be fair, this is an issue with most 24-70mm F2.8 lenses.
Overall, though, we really enjoyed the Sigma’s thin depth of field and ability to yield soft backgrounds that help draw your viewers’ focus to the primary subject, especially for portrait shots. And the falloff from out-of-focus to in-focus and back again is also rather nice.
Flare, ghosting and sunstars
The Sigma 28-70mm F2.8 turns in a decent performance when it comes to ghosting. Even when shooting into the sun or with it in the corner of the frame, there was only a little ghosting noticeable in the far opposite corner. However, flare can be an issue, and you may see a noticeable loss of contrast when shooting with a bright light source in the frame.
ISO 100 | 1/1600 sec | F2.8 | 70mm | Sony A7R III Photo by Chris Niccolls |
Sunstars are relatively pleasing, with 18 rays thanks to the nine aperture blades. They’re not as tight as they could be – each ray splits and diverges into two rays – and as expected stars on the wide end look better than those on the telephoto end where they can appear a bit ‘messy’.
ISO 100 | 1/40 sec | F16 | 28mm | Sony A7R III Photo by Chris Niccolls |
Lateral and longitudinal chromatic aberration (fringing)
We didn’t see any major issues with lateral chromatic aberration for this lens. There’s a truly minute amount of it, perhaps 2-3 pixels wide on a 42MP image (that’s a half a millimeter on a 40″ x 60″ print) that clears up easily if you enable CA corrections in-camera or in your Raw converter.
There’s just a little bit of longitudinal chromatic aberration, visible as color fringing, around high contrast edges of slightly out-of-focus regions, but as you can see in the sample below, it’s not really anything to concern yourself over. It disappears immediately upon stopping down.
Conclusion
What we like | What we don’t |
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At the end of the day, it’s important to bear in mind the target customer when evaluating the Sigma 28-70mm F2.8 DG DN Contemporary. Can more money get you an upgrade in the image quality department? Absolutely, as always. But it’ll also come at the additional cost of a significantly larger, heavier lens. If you’ve got to pack it for air travel or carry it with you while out hiking or roaming around town on foot, that added size and weight will be a disadvantage.
ISO 100 | 1/100 sec | F4 | 45mm | Panasonic S1R Photo by Barney Britton |
Sure, it has some caveats in the image quality department. Most notably, corner sharpness isn’t stellar at telephoto while wide-open; close-up telephoto shots wide open can have a soft dreamy look, and it’s also quite prone to cat’s eye bokeh effect. But honestly, depending on your subjects, those may not be major concerns for you. And image quality is otherwise solid, with very good sharpness across much of the focal range, pleasing bokeh, and good resistance to aberrations and ghosting.
ISO 100 | 1/13 sec | F4.5 | 49mm | Sony A7R III Photo by Chris Niccolls |
The Sigma 28-70mm F2.8 is also well-suited to video capture, with swift and silent autofocus and nicely-damped controls, as well as minimal focus breathing. Its only other significant shortcoming is the lack of full weather-sealing, something offered by all of its nearest rivals. If you expect to shoot rain or shine, that may be a deal-breaker, but if not, then it represents an opportunity to save some money while getting better portability.
If you prioritize outright image quality and durability over size, weight and cost, we’d recommend the fully weather-sealed Sigma 24-70mm F2.8 DG DN Art. And for E-mount shooters who are more size, weight and cost-conscious but who need to shoot regardless of the elements, the Tamron 28–75mm F/2.8 Di III RXD also offers a compelling alternative if you can live with its more distracting bokeh.
On the telephoto end the maximum magnification ratio is 0.22x. Close-up subjects shot at 70mm can appear soft and dreamy.
ISO 250 | 1/200 sec | F2.8 | 70mm | Panasonic S1R |
But if what you need most of all is portability and you understand the compromises necessary to achieve it, the Sigma 28-70mm F2.8 DG DN is hands-down the smallest and lightest of the bunch and still offers solid image quality.
It doesn’t hurt that it’s also among the most affordable F2.8 full-frame standard zoom options for the E- or L-mounts. For the size, weight and cost-conscious, it’s definitely worthy of consideration.
DPReview TV review
See what our team at DPReview TV has to say about the Sigma 28-70mm F2.8 DG DN | C.
Camera
Accessory Roundup: the Nikon museum, a digital picture frame, and more
Images: pexar, SmallRig, Nikon |
Welcome to this week’s accessory roundup. If we’re being honest, it’s been a bit of a dry one out there for accessory news; manufacturers have likely been busy getting ready for the upcoming Amazon Prime Day event that starts on October 8th, and the busy sales season that’ll follow the month after. However, we’ve dug deep and found some accessory news for you. Before we get to that though, let’s go back to talking deals for list a moment…
OM Cameras on sale
The OM-5, OM System’s compact Micro Four Third camera, is currently on sale for $1,000, $200 off its MSRP. When we reviewed it, we appreciated its capable stabilization, size, and weather sealing. While it certainly has some drawbacks like using microUSB instead of USB-C and the company’s older menu system, the less expensive price takes the sting out of those a bit.
The company’s high-end camera, the OM-1 II, is also $400 off, bringing its price to right under $2,000, body-only.
Taking a slight – okay, massive – step up in size, weight, and price, the Nikon Z8 is also $400 off. It’s one of the most powerful full-frame cameras we’ve reviewed to date, and won our Gold award last year.
Frame It
It’s easy to understand where the name comes from, but Lexar better hope that a certain animation studio isn’t feeling particularly litigious.
Image: Lexar |
Lexar, a brand probably best known for its memory cards and readers, has launched a new sub-brand to sell digital photo frames called ‘pexar.’ The announcement was made at IFA last month, but it flew under the radar for a bit until sites like Digital Camera World and PetaPixel picked up on it.
The first pexar-branded product is a 28 cm (11″) digital picture frame with a 2000 x 1200 touchscreen display that can go up to 400 nits of brightness, 32GB of built-in storage, a magnetic stand that lets you use it in portrait and landscape, and an anti-glare display. It also has an SD card slot and a USB-A port to let you expand how many pictures it can hold, but the company says you should be able to fit “over 40,000” images on it before you need to do that.
There’s also an app that lets “up to 512 users” connect to the frame and upload images or videos to it. This could be useful for those giving it as a gift to a family member or friend and who want to keep it updated with recent photos, or someone who wants to use it as a way to display their own photography without having to do prints.
At $160, it’s certainly positioned as a premium product, though it’s also not the most expensive option in the category. It also has a higher resolution than The Wirecutter‘s pick for a 38cm (15″) digital photo frame. The company also says that a smaller 25.7cm (10.1″) version is in the works and will launch sometime this month.
Lights, camera, action
Image: SmallRig |
Chip-on-board lights, or COB lights, have become popular tools for both photographers and videographers looking for a continuous light source. Recently, both SmallRig and Lume Cube announced portable COB lights, which could be handy if you find yourself needing a fill light. Both lights can be remotely operated with an app.
As its name implies, the SmallRig RC 100B is a 100W-class light. It uses bi-color LEDs, so you can have it output light at 2700-6500K. There are two different RC 100B kits; the first is the “mobile” version which mounts to a handle and includes an adapter plate that lets you use two NP-F batteries instead of the V-mount ones the light natively takes. The standard version, meanwhile, includes a light stand adapter and USB-C cable for power. Both versions also have a mini XLR input for DC power.
The mobile version retails for $199, and the standard one is $229.
Image: LumeCube |
The Lume Cube XL puts out less light – it’s only a 60W-class source – but adds RGB capabilities that let you output in different colors. Like the SmallRig light, it includes a reflector, and can accept power input via USB-C. It doesn’t include a built-in battery mount, though you can buy a battery handle separately, but does come with a power adapter that lets you plug it into the wall.
The Lume Cube XL is available for $249.
A trip to the museum
Photo: Nikon |
This one is less of an accessory and more of a place you can go to see a ton of camera gear. Nikon has announced that it’ll reopen its museum on October 12, after closing it while relocating its headquarters. There, you’ll be able to see around “1,300 products and technologies” from Nikon’s camera, lens, binocular, and industrial businesses. Perhaps most excitingly, the consumer section has a “touch and try” section, though the company’s map doesn’t have much detail on what types of products you’ll be able to get your hands on.
Admission to the museum is free, but you’ll obviously have to physically be in Tokyo if you want to visit.
Image: Nikon |
If you do want to buy something, the museum has a gift shop that sells “15 types of acrylic keychain” that depict cameras and lenses, which are quite adorable and only 500 yen (around $3.40 US at time of writing).
Click to see last week’s accessory roundup
Camera
Accessory Roundup: the Nikon museum, a digital picture frame, and more
Images: pexar, SmallRig, Nikon |
Welcome to this week’s accessory roundup. If we’re being honest, it’s been a bit of a dry one out there for accessory news; manufacturers have likely been busy getting ready for the upcoming Amazon Prime Day event that starts on October 8th, and the busy sales season that’ll follow the month after. However, we’ve dug deep and found some accessory news for you. Before we get to that though, let’s go back to talking deals for list a moment…
OM Cameras on sale
The OM-5, OM System’s compact Micro Four Third camera, is currently on sale for $1,000, $200 off its MSRP. When we reviewed it, we appreciated its capable stabilization, size, and weather sealing. While it certainly has some drawbacks like using microUSB instead of USB-C and the company’s older menu system, the less expensive price takes the sting out of those a bit.
The company’s high-end camera, the OM-1 II, is also $400 off, bringing its price to right under $2,000, body-only.
Taking a slight – okay, massive – step up in size, weight, and price, the Nikon Z8 is also $400 off. It’s one of the most powerful full-frame cameras we’ve reviewed to date, and won our Gold award last year.
Frame It
It’s easy to understand where the name comes from, but Lexar better hope that a certain animation studio isn’t feeling particularly litigious.
Image: Lexar |
Lexar, a brand probably best known for its memory cards and readers, has launched a new sub-brand to sell digital photo frames called ‘pexar.’ The announcement was made at IFA last month, but it flew under the radar for a bit until sites like Digital Camera World and PetaPixel picked up on it.
The first pexar-branded product is a 28 cm (11″) digital picture frame with a 2000 x 1200 touchscreen display that can go up to 400 nits of brightness, 32GB of built-in storage, a magnetic stand that lets you use it in portrait and landscape, and an anti-glare display. It also has an SD card slot and a USB-A port to let you expand how many pictures it can hold, but the company says you should be able to fit “over 40,000” images on it before you need to do that.
There’s also an app that lets “up to 512 users” connect to the frame and upload images or videos to it. This could be useful for those giving it as a gift to a family member or friend and who want to keep it updated with recent photos, or someone who wants to use it as a way to display their own photography without having to do prints.
At $160, it’s certainly positioned as a premium product, though it’s also not the most expensive option in the category. It also has a higher resolution than The Wirecutter‘s pick for a 38cm (15″) digital photo frame. The company also says that a smaller 25.7cm (10.1″) version is in the works and will launch sometime this month.
Lights, camera, action
Image: SmallRig |
Chip-on-board lights, or COB lights, have become popular tools for both photographers and videographers looking for a continuous light source. Recently, both SmallRig and Lume Cube announced portable COB lights, which could be handy if you find yourself needing a fill light. Both lights can be remotely operated with an app.
As its name implies, the SmallRig RC 100B is a 100W-class light. It uses bi-color LEDs, so you can have it output light at 2700-6500K. There are two different RC 100B kits; the first is the “mobile” version which mounts to a handle and includes an adapter plate that lets you use two NP-F batteries instead of the V-mount ones the light natively takes. The standard version, meanwhile, includes a light stand adapter and USB-C cable for power. Both versions also have a mini XLR input for DC power.
The mobile version retails for $199, and the standard one is $229.
Image: LumeCube |
The Lume Cube XL puts out less light – it’s only a 60W-class source – but adds RGB capabilities that let you output in different colors. Like the SmallRig light, it includes a reflector, and can accept power input via USB-C. It doesn’t include a built-in battery mount, though you can buy a battery handle separately, but does come with a power adapter that lets you plug it into the wall.
The Lume Cube XL is available for $249.
A trip to the museum
Photo: Nikon |
This one is less of an accessory and more of a place you can go to see a ton of camera gear. Nikon has announced that it’ll reopen its museum on October 12, after closing it while relocating its headquarters. There, you’ll be able to see around “1,300 products and technologies” from Nikon’s camera, lens, binocular, and industrial businesses. Perhaps most excitingly, the consumer section has a “touch and try” section, though the company’s map doesn’t have much detail on what types of products you’ll be able to get your hands on.
Admission to the museum is free, but you’ll obviously have to physically be in Tokyo if you want to visit.
Image: Nikon |
If you do want to buy something, the museum has a gift shop that sells “15 types of acrylic keychain” that depict cameras and lenses, which are quite adorable and only 500 yen (around $3.40 US at time of writing).
Click to see last week’s accessory roundup
Camera
The Sitina S1: How a determined DIY photographer built his own full-frame camera (and open-sourced the project)
The Sitina S1
Photo: Wenting Zhang |
Here at DPReview, we love DIY photography projects, and one recently came to our attention that we just had to share.
Boston-based engineer and photographer Wenting Zhang has been experimenting with DIY electronics for over a decade and also loves taking photos, so building his own camera was a natural extension of these interests.
“I initially had the idea of building my own camera during middle school. Back then, I wasn’t allowed to use my parents’ camera and couldn’t afford a real camera. I naively thought it would be possible, and cheaper, if I just built one myself,” Zhang told DPReview. His initial attempt didn’t go well, and he eventually saved enough to buy a used Nikon D90, but the itch to build his own camera stayed. Whenever he saw someone posting about a DIY camera project, he thought, “If other people can pull that off, I should be able to as well.”
Zhang says he started the project in 2017, and it’s not finished yet. “Engineers are usually bad at estimating how long things will take. I am probably particularly bad at that. I expected this project to be challenging, so it would take a bit longer, like probably one year. Turned out my estimation was off,” he says.
He makes clear to point out that this is a hobby project, purely for fun, and that his camera isn’t going to achieve the level of image quality found in commercially available products from established companies. Despite that, his project provides a fascinating look into what’s involved in building a camera from the ground up. What’s more, Zhang has open-sourced his entire project on GitLab for anyone else who might want to build upon it.
Zhang took this photo with a monochrome version of the Sitina, which uses the same sensor but without the Bayer color filter array.
Photo: Wenting Zhang |
Although CMOS has become the dominant sensor technology in consumer cameras, owing to factors like speed, lower power consumption and cost, Zhang’s camera is built around a 10MP Kodak KAI-11000CM CCD sensor with a global electronic shutter, which he selected for a rather pragmatic reason: it was easy to source. “Most manufacturers (like Sony) aren’t going to just sell a sensor to a random hobbyist, so I have to buy whatever is available on eBay. This 10MP CCD turned out to be available,” he explains.
Zhang attaches the CCD sensor to his heat sink.
Photo: Wenting Zhang |
The choice of sensor has a useful benefit. As he explains in one of his videos, designing and building a mechanical shutter is complicated and beyond his area of expertise, so his DIY design is based on using an electronic shutter. For similar reasons, he chose to use an LCD screen as a viewfinder rather than a prism-based optical design, resulting in a mirrorless camera.
Photo captured with the Sitina S1.
Photo: Wenting Zhang |
Zhang wanted his design to be compatible with existing lenses. His mirrorless design, with a short flange distance, provided a great deal of flexibility to adapt different lenses to the camera, and he’s currently using E-mount with active electrical contacts.
And that’s just the start. Zhang also needed to integrate a CCD signal processor with an ADC (analog to digital converter), a CPU, battery, an LCD screen and buttons. He also designed and built his own circuit board with a power-only USB port, flash sync terminal, power button and SD card slot, and create the software and user interface to tie it all together.
In order to build his camera, Zhang had to design and print his own circuit boards.
Image: Wenting Zhang |
Finally, everything fits inside a 3D-printed enclosure that, to my eye, looks rather attractive.
As for the camera’s name, the Sitina S1? “I simply put the word ‘silicon’ and ‘retina’ together to form the word ‘sitina’. I don’t have any better ideas of naming the camera model, so I simply call it the ‘Sitina S1’, he explains. “But the name may change in the future if I ever have better ideas.”
Zhang was kind enough to share some photos from his DIY ‘for fun’ camera.
Photos: Wenting Zhang |
Now that he’s built his own camera, Zhang has an appreciation for how much work goes into the design, development and optimization of a modern consumer camera. “I would imagine it would take an army of designers and engineers of various disciplines to build a modern consumer camera,” he says. “There are so many different components but few ‘off the shelf’ parts.”
“On top of the hardware, we still have layers of software. There’s no standard camera operating system (like Android or Windows) so each vendor is developing its own OS. On top of the OS, you have image processing algorithms where each vendor probably has their own secret sauce for better color, lower noise, etc. I think it’s quite incredible that camera vendors are able to do all these things in-house.”
Zhang is still working to address issues in his current prototype. “I think in another year or two it could reach a state where it can be a useable and useful camera. I do wish to sell the camera either as a kit people can put together or as an assembled machine. Not for profit, but so people can play with it, and my effort on this project won’t go to waste.”
If you’re curious to learn more about how a camera is built, I encourage you to watch both of Zhang’s videos in their entirety as he goes into great detail about the process. And, if you have the technical skills and interest to try this type of DIY project yourself, his open source project could be invaluable. I’ll be the first to admit it goes beyond my level of engineering know-how, but I would be first in line to order a Sitina camera DIY kit if the opportunity arose.
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