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Sigma announces 24-70mm F2.8 DG DN II for Sony E and Leica L mounts

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Sigma announces 24-70mm F2.8 DG DN II for Sony E and Leica L mounts



Sigma has announced the 24-70mm F2.8 DG DN II, a second-generation, mirrorless-only fast standard zoom lens as part of its Art series of premium optics.

The new lens is a fraction smaller and around 10% lighter than the existing lens. And while a 19 element, 15 group design with 6 fluorite-like FLD elements and 2 SLD elements might sound familiar, the use of five aspheric elements, rather than three, shows it to be a new optical formula.

The new lens, which arrives five years on from the original, uses a “High-Response” linear motor to drive autofocus, rather than the stepper motor that was used before.

Sigma says the sharpness and contrast performance outdoes the existing lens, with a combination of modern design techniques, new glass materials and improved manufacturing capabilities coming together to deliver a lens with less coma and better optical qualities.

The minimum focus distance drops by 1cm to 17cm (6.7″) which also means the maximum reproduction ratio nudges up from 0.34x to 0.37x. It retains its 82mm filter thread diameter.

In terms of handling, the 24-70mm gains a second AFL button, so that one is within reach whether the lens is being held in the portrait or landscape orientation. In addition to its AF/MF switch and zoom lock, the version II adds a switch to lock the aperture ring in or out of the ‘A’ position, and a switch to de-click the ring’s movement.

The Sigma 24-70mm F2.8 DG DN II | Art will be available from the end of May at a recommended price of $1,199, representing a $100 increase since the 2019 version’s launch.

We had prepared a sample gallery with the 24-70mm F2.8 DG DN II but on close examination found the results didn’t reach the quality we expected. We have decided not to publish the results as we do not believe they accurately represent the product’s performance. We hope to get the opportunity to shoot another gallery in the coming days.

Press Release:

SIGMA Announces 24-70mm F2.8 DG DN II | Art Lens, an Upgraded Follow-Up to its Popular Standard Zoom for Full-Frame Mirrorless Cameras

Ronkonkoma, NY – May 16, 2024 – SIGMA Corporation of America, the US subsidiary of SIGMA Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan) is pleased to announce the SIGMA 24-70mm F2.8 DG DN II | Art lens. This is the second generation of the highly successful SIGMA 24-70mm F2.8 DG DN | Art. The new lens has undergone a significant evolution, including enhanced optical performance, AF speed and operability, while also achieving a more compact size than the original.

The advancement of optical design has shortened the total optical length, and the lens barrel has been made slimmer by thoroughly downsizing the zoom mechanism. In addition, the lens barrel has been downsized by placing buttons and switches directly on the lens barrel. The weight has been reduced by approximately 10% compared to the SIGMA 24-70mm F2.8 DG DN | Art. By driving the lightweight focus group with the high-thrust HLA, autofocus is significantly swifter than the original version.

6 FLD glass elements, 2 SLD glass elements, and 5 double-sided aspheric lenses are used. Aberrations are highly corrected through advanced optical design made possible by advanced basic technologies in both design and manufacturing, including the use of new glass materials and aspherical lenses with thin walls and high degrees of asphericity. In particular, sagittal coma flare is heavily corrected to achieve MTF characteristics surpassing those of the highly-acclaimed 24-70mm F2.8 DG DN | Art. The high level of flare resistance also results in point images, such as stars, at the periphery of the image being closer to ideal points.

A close-focusing distance of 6.7 inches (17cm) at the wide end at 1:2.7 magnification*1 adds to the versatility of this lens, and the addition of a click/de-click and lockable aperture ring, along with an additional AF-L button for vertical orientation still or video capture, are additional enhancements of this second-generation lens. The zoom lock switch, which disengages when zooming, is inherited from the SIGMA 24-70mm F2.8 DG DN | Art. Manual focus can be switched between Linear and Non-linear response (L-Mount only.) A splash- and dust-resistant structure, plus water and oil-repellent coating on the front element, add to durability.

The new SIGMA 24-70mm F2.8 DG DN II | Art lens builds on the success and popularity of the original 24-70mm F2.8 DG DN | Art, and offers an impressive upgrade with added features and performance in a more compact package that is perfect for working pros in both still and video applications. Offered in Sony E-mount and L-Mount, the lens will be available through authorized retailers in late May 2024 and will sell for $1,199.

A | Art
SIGMA 24-70mm F2.8 DG DN II

A classic, evolved.

  • Rendering performance worthy of the flagship name
  • Improved portability and expanded feature set
  • A wealth of professional functions including high-speed autofocus

Supplied accessories: CASE, LENS HOOD LH878-05, FRONT CAP LCF-82 III, REAR CAP LCR II

Available mounts: L-Mount, Sony E-mount

Launch date: May 30, 2024

The SIGMA 24-70mm F2.8 DG DN II | Art is SIGMA’s flagship lens that has evolved significantly from the previous model by incorporating the most advanced technologies available to SIGMA from design to production. Compared to the previous SIGMA 24-70mm F2.8 DG DN | Art, the SIGMA 24-70mm F2.8 DG DN II | Art has improved resolving power throughout the entire zoom range, and also benefits from functional enhancements such as the addition of an aperture ring and high-speed AF with a redesigned AF motor, HLA (High-response Linear Actuator). The lens is also approximately 7% smaller and 10% lighter. This 24-70mm F2.8 Art zoom is a versatile and high-performance tool that will help photographers and filmmakers unlock their creative potential.

[Key Features]

1. Rendering performance worthy of the flagship name

The SIGMA 24-70mm F2.8 DG DN II | Art is the successor to the SIGMA 24-70mm F2.8 DG DN | Art, which is known for its high optical performance, and has further improved resolution throughout the zoom range. The lens has high sharpness throughout the entire image from its maximum aperture, even on high-resolution cameras. Focusing on enhancing its rendering performance, the brightness of F2.8 produces a large, beautiful bokeh effect, and allows users to experience the power of a flagship lens in all types of visual expression. In addition to its advanced close-up capability and resistance to flare and ghosting, the lens is designed to minimize focus breathing.

High optical performance across the entire image and zoom range

The optical design of the lens includes 6 FLD glass elements, 2 SLD glass elements, and 5 aspherical lens elements to thoroughly suppress various aberrations throughout the entire zoom range. In particular, sagittal coma flare has been well controlled to achieve consistently high resolution all the way to the periphery of the image. By also effectively correcting lateral chromatic aberration, high resolution, beautifully rendered images can be achieved, free from color fringing can be achieved.

Incorporating 5 aspherical lenses

The use of 5 high-precision aspherical lenses enables both high optical performance with minimal aberration correction and a compact optical design. The SIGMA’s only manufacturing base, the Aizu factory’s ultra-high-precision aspherical molding technology makes it possible to produce the thin, highly polarized aspherical lenses that are essential for the construction of this lens. This has brought about a higher degree of freedom in optical design.

Excellent close-up capability*2

The lens has excellent close-up capability with a minimum focusing distance of 17cm / 6.7in. at the wide end and a maximum magnification ratio of 1:2.7. This is useful when composing close-up shots of a subject, or when shooting in tight spaces where it is difficult to get a good distance from the subject.

Designed to minimize flare and ghosting

Flare and ghosting, which reduce image quality, have been largely eliminated using advanced simulation technology, ensuring the lens renders rich, high-contrast results in all conditions. In addition, Nano Porous Coating and Super Multi-layer Coating have been applied to help suppress flare and ghosting to the utmost degree. High backlight resistance enables clear and sharp images under any lighting conditions.

Minimal focus breathing

The lens has been designed to suppress focus breathing. The change in angle-of-view due to focus shift across the entire zoom range is minimized, creating a natural-looking focus pulls when recording video.

2. Improved portability and expanded feature set

The body of the SIGMA 24-70mm F2.8 DG DN II | Art is approximately 7% smaller in size and 10% lighter in weight than the previous model, while improving usability by adding an aperture ring and two AFL buttons. Despite the reduction in size and added features, the lens maintains SIGMA’s renowned excellent build quality, with the uncompromisingly precise and robust construction expected of a professional photographic tool.

Highly portable lens body

While the number of lens elements used in its construction is the same as that of the previous model, the overall length has been shortened owing to an advanced optical design. In addition, the more efficient mechanical design has resulted in a highly portable lens body with a maximum diameter of 87.8mm / 3.5in., length of 120.2mm / 4.7in., and weight of 745g / 26.3oz.*3

Excellent build quality

Simultaneously focusing on reducing the size and weight of the lens body, the use of metal parts for the zoom extension unit and other parts, as well as the robust internal structure ensure rigidity during use, such as when operating the ring, pressing buttons, and carrying the lens. The design emphasizes the lens’ longevity and reliability as a tool, which cannot be achieved by solely pursuing a compact and lightweight body.

Equipped with an aperture ring

The lens is equipped with an aperture ring as well as an aperture ring click switch and an aperture ring lock switch, allowing for aperture operation suitable for various shooing situations.

Equipped with two AFL buttons

The lens is equipped with two AFL buttons*4, to which a range of functions can be assigned via the menu on selected cameras, one more than the previous model. In addition to the side, the additional button has been positioned on the top to facilitate button operation when the camera is held in vertical orientation.

3. A wealth of functions including high-speed autofocus

In addition to high-speed AF with HLA (High-response Linear Actuator), the SIGMA 24-70mm F2.8 DG DN II | Art has a full range of features including weather resistance such as a dust and splash resistant structure*5 and water and oil repellent coating, as well as a zoom lock switch. The lens delivers the best possible results in every shooting situation.

Incorporating a linear motor HLA

The lens incorporates a linear motor HLA (High-response Linear Actuator) for the AF actuator. The high output HLA makes the maximum drive speed more than three times faster than the previous model*6, ensuring responsive AF shooting.

Dust and splash resistant structure and water and oil repellent coating

In addition to a dust and splash resistant structure, the front element of the lens features a water and oil repellent coating, allowing users to shoot without concerns even in harsh outdoor environments.

Equipped with a zoom lock switch at the wide end

The lens is equipped with a zoom lock switch that locks the lens at the wide end and prevents the barrel from extending unintentionally under its own weight. The lock can be released not only by the switch but also via zoom operation, allowing for flexible handling of even impromptu shooting.

Includes petal-type hood with lock

A dedicated petal-shaped hood is supplied. A locking mechanism is provided for secure attachment.

[ Additional Features ]

  • Lens construction: 19 elements in 15 groups (6 FLD, 2 SLD, 5 aspherical elements)
  • Inner focus system
  • Compatible with high-speed autofocus
  • HLA (High-response Linear Actuator)
  • Compatible with Lens Aberration Correction

    * Function available on supported cameras only. Available corrections or auto correction functionality may vary depending on the camera model.

    * On cameras where lens aberration correction is controlled with “ON” or “OFF” in the camera menu, please set all aberration correction functions to “ON” (AUTO).
  • Supports DMF and AF+MF
  • Compatible with AF assist (for Sony E-mount only)
  • Nano Porous Coating
  • Super Multi-Layer Coating
  • Water- and Oil-Repellent Coating (front element)
  • Aperture ring
  • Aperture ring click switch
  • Aperture ring lock switch
  • AFL button (2 buttons)
    
* Function can be assigned on supported cameras only. Available functions may vary depending on the camera used.
  • Focus Mode switch
  • Support for switching between linear and non-linear focus ring settings (for L-Mount only)
    
* Function available on supported cameras only.
  • Dust- and Splash-Resistant Structure
  • Petal-type hood with lock LH875-05
  • Compatible with SIGMA USB DOCK UD-11 (sold separately / for L-Mount only)
  • Designed to minimize flare and ghosting
  • Every single lens undergoes SIGMA’s proprietary MTF measuring system
  • 11-blade rounded diaphragm
  • High-precision, durable brass bayonet mount
  • Mount Conversion Service available
  • “Made in Aizu, Japan” craftsmanship

*1 close-focusing distance of 13.4 inches (34cm) with 1:4 magnification at 70mm
*2 Be extremely careful that the front lens element does not hit the subject when photographing. Remove the lens hood when photographing at the minimum focusing distance at the wide-angle end.
*3 These figures are for L-Mount.
*4 Functions can be assigned on supported cameras only. Available functions may vary depending on the camera used.
*5 The structure is designed to be dust and splash resistant, but not waterproof. Be careful not to bring the lens in contact with a large amount of water. Water inside the lens may cause major damage and even render the lens unrepairable.
*6 Compared by the maximum drive speed of the SIGMA 24-70mm F2.8 DG DN II | Art with that of the SIGMA 24-70mm F2.8 DG DN | Art (It is different from the actual time for AF to focus).



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Halide announces Kino, a “Pro Video Camera” for iOS

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Halide announces Kino, a “Pro Video Camera” for iOS


Lux, the team behind the Apple Design Award-winning photography app Halide, has announced Kino, an app that it claims will bring pro-level video tools to iPhone users.

The developers state that Kino is intended to give users complete control in both automatic and manual shooting modes based on some clever built-in logic. The app includes a feature called AutoMotion, which automatically sets a 180º shutter angle in order to create cinematic motion blur. An ‘Auto’ label turns green when the settings are just right, letting you know you’re good to go. If the camera can’t achieve a 180º shutter, such as when shooting outdoors in bright light, you may need to add an ND filter to allow the shutter to lock onto the correct angle.

Another headline feature is Instant Grade, which takes advantage of Apple Log, available on the newest iPhone 15 Pro models. Apple’s camera app records Log footage in ProRes format, which creates large files and requires editing to finalize color; Instant Grade will allow users to apply color presets directly to Apple Log footage as it’s being captured and saves the recordings in the more efficient HEVC format, allowing for cinematic video straight out of camera. The app includes color presets from pro colorists, but users can import their own LUTs into the app as well.

Kino includes color presets created by professional colorists.

The app also includes advanced features, such as the ability to save files into either Apple’s Photos app or to a specific file location, composition guides, audio levels, USB-C storage compatibility, RGB waveform, manual focus with peaking, WB/AE lock, exposure compensation and a lockable user interface.

For beginners who may not be as familiar with a video-first workflow, the app will include free lessons on the basics of shooting video.

Kino is available beginning today at a promotional price of $9.99, though the company indicated that the price will increase to $19.99 “a few days after launch.”


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Sigma CEO talks market trends, the challenge of innovation and the future for APS-C

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Sigma CEO talks market trends, the challenge of innovation and the future for APS-C


Sigma CEO Kazuto Yamaki

Photo: Richard Butler

“All camera and lens manufacturers have to be innovative,” says Sigma CEO Kazuto Yamaki, but “technology competition among manufacturers may not always be beneficial to customers… Easier to use interfaces, compact and lightweight bodies for enhanced portability, or some other specifications might be more important.”

In the second part of a wide-ranging interview conducted at the CP+ show in Yokohama in late February, Yamaki talked about current state of the market, the need for innovation and the challenges of delivering that innovation.

State of the market

“Last year was not so bad,” he says, when asked about the state of the market: “It looks like the trend of the shrinking market has hit the bottom.” But he suggests this may not continue: “For the time being, many photographers are now switching from DSLR to mirrorless, which will sustain the market. However, after they switch to mirrorless cameras, I worry that the market could shrink in the coming years.”

“One reason for my concern is the increasing average price of cameras and lenses. I truly appreciate the passion of the customers who are still spending so much money on cameras and lenses. However, I’m afraid that not so many customers can afford such high-priced cameras and lenses, so we’re still trying hard to keep the retail price reasonable.”

“I’m afraid that not so many customers can afford such high-priced cameras and lenses”

“Especially these days, the younger generation takes huge amounts of photos with smartphones. While we can expect some of them to switch from a smartphone to a camera, many may find the price gap too wide, and challenging to make the switch.”

Yamaki also expresses concern about some of the tech trends he’s seeing: “Investing in the development of more advanced technology is crucial. However, it’s equally important to focus on our customers.”

“We’ve seen some cameras with very technically impressive specifications, but I worry that they’re not always capabilities that many photographers really need. Moving forward, I speculate that more user-friendly specifications might mean more to customers. Easier to use interfaces, a compact and lightweight body for enhanced portability, or some other specifications might be more important.”

The challenges of innovation

Sigma has launched some ambitious and unusual lenses in recent years, including the 14mm F1.4 DG DN. Yamaki describes astrophotography, for which it’s designed, as the most challenging subject.

Image: Sigma

He uses the recently announced 500mm F5.6 as an example of customer-focused innovation. “Canon and Nikon had similar lenses for DSLRs. They achieved it by using diffractive lens elements,” he explains: “Instead of using one powerful diffractive element, we used multiple special low-dispersion [SLD] glass. We used one SLD and three FLD elements. By using multiple special lenses, we could achieve a similar effect. That’s how we can make it so compact and lightweight.”

But this approach isn’t simple, he says: “It requires lots of very high manufacturing technology and skill, but because we have a very good factory and our optical designers trust the capability of our factory, we were able to go for this design.”

“In most cases, we are the first to use new types of glass, and once they see Sigma use that lens element, they start using it.”

“This trust is really, really important,” he explains: “Lens polishing is still a unique process that has a lower yield. Normally, in something like electronics, the yield ratio is something like 99.99996 percent, or something like that. But when it comes to lenses, for example, in our case, because our yield is so high, our yield ratio from the start of the process to the end is close to 90%. So if we plan to build 1,000 units of a specific lens, we have to start polishing 1,100 pieces, and during the process, about 10% of the lens elements will fail and have to be scrapped.”

A question of trust

“That’s the reason why other companies hesitate to use new glass elements. They are uncertain about the yield ratio. In most cases, we are the first to use a new type of element, and once they see Sigma use that lens element, they start using it. I’m very happy to play such a role. Sigma is kind of the guinea pig in the lens industry: they use Sigma as an experiment, and if we prove it, they use it.”

This commitment to pushing the use of new glass types reflects Yamaki’s wider vision of the company’s role. This can be seen in the ambitious lenses it’s recently introduced aimed at astrophotography, he says.

“First of all, I believe it’s one of Sigma’s missions to create niche products. If we only concentrate on standard products and release lower-priced versions, it’s not good: we would not be able to contribute to the development of the photography culture. As a lens manufacturer it’s our mission to develop such niche lenses that satisfy a specific target group.”

“Secondly, most lenses are so good, maybe much better than people’s expectations. But only astrophotographers are never satisfied: they’re so keen for quality! They’re looking at the shape of stars in the corners. Star images are the toughest, most challenging subject, or let’s say, the most nasty lens chart. You can see all kinds of aberrations in star images. That’s why we want to show what we can do with our capability. So lenses for astrophotography is my personal strong passion to show the capability of Sigma’s technology.”

The future of APS-C

Yamaki says the audience for its I-series of full-frame lenses, such as the 17mm F4 DG DN pictured, is similar to that for the DC DN range of APS-C primes. However, it doesn’t sound like there are plans for I-series-style versions of the DC lenses.

Image: Sigma

With all this talk of niches, we steered the conversation towards the DC DN primes. We wanted to know whether he sees the users of these lenses as distinct from those of the mid-priced i-Series full-frame primes, which feature metal bodies and aperture rings.

“I see they are very similar customers: those who value compactness and image quality. These customers often live in big cities and use public transportation a lot. So they cannot carry around big, heavy equipment in the car. They have to carry it around in their bags.”

Despite this, it doesn’t sound like there are any plans to refresh the DC DNs with more i-Series-like designs: “Those who want full-frame can use the I series lenses, while those who are happy with APS-C cameras can use the many lightweight DC DN lenses,” he says.

But, while we won’t expect APS-C primes with aperture rings for X-mount or the Nikon Z fc any time soon, Yamaki’s comments about his commitment to APS-C bode well, given the announcement that it’ll make lenses for both Nikon’s Z mount and Canon’s RF system:

“Our plan is to have a relatively complete range of lenses for APS-C sized sensors.”


This article was based on an interview conducted by Dale Baskin and Richard Butler at the CP+ show in Yokohama, Japan.



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Sigma CEO talks market trends, the challenge of innovation and the future for APS-C

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Sigma CEO talks market trends, the challenge of innovation and the future for APS-C


Sigma CEO Kazuto Yamaki

Photo: Richard Butler

“All camera and lens manufacturers have to be innovative,” says Sigma CEO Kazuto Yamaki, but “technology competition among manufacturers may not always be beneficial to customers… Easier to use interfaces, compact and lightweight bodies for enhanced portability, or some other specifications might be more important.”

In the second part of a wide-ranging interview conducted at the CP+ show in Yokohama in late February, Yamaki talked about current state of the market, the need for innovation and the challenges of delivering that innovation.

State of the market

“Last year was not so bad,” he says, when asked about the state of the market: “It looks like the trend of the shrinking market has hit the bottom.” But he suggests this may not continue: “For the time being, many photographers are now switching from DSLR to mirrorless, which will sustain the market. However, after they switch to mirrorless cameras, I worry that the market could shrink in the coming years.”

“One reason for my concern is the increasing average price of cameras and lenses. I truly appreciate the passion of the customers who are still spending so much money on cameras and lenses. However, I’m afraid that not so many customers can afford such high-priced cameras and lenses, so we’re still trying hard to keep the retail price reasonable.”

“I’m afraid that not so many customers can afford such high-priced cameras and lenses”

“Especially these days, the younger generation takes huge amounts of photos with smartphones. While we can expect some of them to switch from a smartphone to a camera, many may find the price gap too wide, and challenging to make the switch.”

Yamaki also expresses concern about some of the tech trends he’s seeing: “Investing in the development of more advanced technology is crucial. However, it’s equally important to focus on our customers.”

“We’ve seen some cameras with very technically impressive specifications, but I worry that they’re not always capabilities that many photographers really need. Moving forward, I speculate that more user-friendly specifications might mean more to customers. Easier to use interfaces, a compact and lightweight body for enhanced portability, or some other specifications might be more important.”

The challenges of innovation

Sigma has launched some ambitious and unusual lenses in recent years, including the 14mm F1.4 DG DN. Yamaki describes astrophotography, for which it’s designed, as the most challenging subject.

Image: Sigma

He uses the recently announced 500mm F5.6 as an example of customer-focused innovation. “Canon and Nikon had similar lenses for DSLRs. They achieved it by using diffractive lens elements,” he explains: “Instead of using one powerful diffractive element, we used multiple special low-dispersion [SLD] glass. We used one SLD and three FLD elements. By using multiple special lenses, we could achieve a similar effect. That’s how we can make it so compact and lightweight.”

But this approach isn’t simple, he says: “It requires lots of very high manufacturing technology and skill, but because we have a very good factory and our optical designers trust the capability of our factory, we were able to go for this design.”

“In most cases, we are the first to use new types of glass, and once they see Sigma use that lens element, they start using it.”

“This trust is really, really important,” he explains: “Lens polishing is still a unique process that has a lower yield. Normally, in something like electronics, the yield ratio is something like 99.99996 percent, or something like that. But when it comes to lenses, for example, in our case, because our yield is so high, our yield ratio from the start of the process to the end is close to 90%. So if we plan to build 1,000 units of a specific lens, we have to start polishing 1,100 pieces, and during the process, about 10% of the lens elements will fail and have to be scrapped.”

A question of trust

“That’s the reason why other companies hesitate to use new glass elements. They are uncertain about the yield ratio. In most cases, we are the first to use a new type of element, and once they see Sigma use that lens element, they start using it. I’m very happy to play such a role. Sigma is kind of the guinea pig in the lens industry: they use Sigma as an experiment, and if we prove it, they use it.”

This commitment to pushing the use of new glass types reflects Yamaki’s wider vision of the company’s role. This can be seen in the ambitious lenses it’s recently introduced aimed at astrophotography, he says.

“First of all, I believe it’s one of Sigma’s missions to create niche products. If we only concentrate on standard products and release lower-priced versions, it’s not good: we would not be able to contribute to the development of the photography culture. As a lens manufacturer it’s our mission to develop such niche lenses that satisfy a specific target group.”

“Secondly, most lenses are so good, maybe much better than people’s expectations. But only astrophotographers are never satisfied: they’re so keen for quality! They’re looking at the shape of stars in the corners. Star images are the toughest, most challenging subject, or let’s say, the most nasty lens chart. You can see all kinds of aberrations in star images. That’s why we want to show what we can do with our capability. So lenses for astrophotography is my personal strong passion to show the capability of Sigma’s technology.”

The future of APS-C

Yamaki says the audience for its I-series of full-frame lenses, such as the 17mm F4 DG DN pictured, is similar to that for the DC DN range of APS-C primes. However, it doesn’t sound like there are plans for I-series-style versions of the DC lenses.

Image: Sigma

With all this talk of niches, we steered the conversation towards the DC DN primes. We wanted to know whether he sees the users of these lenses as distinct from those of the mid-priced i-Series full-frame primes, which feature metal bodies and aperture rings.

“I see they are very similar customers: those who value compactness and image quality. These customers often live in big cities and use public transportation a lot. So they cannot carry around big, heavy equipment in the car. They have to carry it around in their bags.”

Despite this, it doesn’t sound like there are any plans to refresh the DC DNs with more i-Series-like designs: “Those who want full-frame can use the I series lenses, while those who are happy with APS-C cameras can use the many lightweight DC DN lenses,” he says.

But, while we won’t expect APS-C primes with aperture rings for X-mount or the Nikon Z fc any time soon, Yamaki’s comments about his commitment to APS-C bode well, given the announcement that it’ll make lenses for both Nikon’s Z mount and Canon’s RF system:

“Our plan is to have a relatively complete range of lenses for APS-C sized sensors.”


This article was based on an interview conducted by Dale Baskin and Richard Butler at the CP+ show in Yokohama, Japan.



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