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Sigma announces 28-70mm F2.8 DG DN Contemporary for L and E mounts

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Sigma announces 28-70mm F2.8 DG DN Contemporary for L and E mounts

Sigma has announced its new 28-70mm F2.8 DG DN Contemporary lens for L and E mounts. The company says that its design is based on that of the 24-70mm F2.8 Art, and makes the bold claim that image quality will be comparable.

As of now, the 28-70 is the smallest and lightest lens in its class, according to Sigma: it’s just 102mm (4″) long and weighs in at 470g (1lb). It has a total of 16 elements, which include 2 FLD, 2 SLD and 3 aspherical elements. The special elements, combined with Super Multi-Layer and Nano Porous coatings, help reduce flare and ghosting.

The minimum focus distance is 19cm (7.5″) and the maximum magnification is 0.3X. The focus group is driven by a stepping motor.

The 28-70 has ‘simple’ weather sealing, and a water and oil-resistant coating on the front element.

The Sigma 28-70mm F2.8 DG DN will be available in mid-March for $899.

C | Contemporary
SIGMA 28-70mm F2.8 DG DN

Exclusively for mirrorless cameras |Compatible with full-frame cameras

Smart and nimble. The new standard mirrorless zoom.

1. Design based on SIGMA’s Art line, with the same uncompromising optical performance
2. A lightweight and compact body ― ideal for day-to-day use
3. Superb build quality with exceptional attention to detail that provides an exceptional user

SIGMA sets a new standard in large-aperture mirrorless zoom lenses

The SIGMA 28-70mm F2.8 DG DN | Contemporary redefines the standard zoom for mirrorless cameras by combining outstanding optical performance, an F2.8 constant aperture, and a lightweight and compact body. The design of the 28-70mm F2.8 DG DN | Contemporary is based on the existing 24-70mm F2.8 DG DN | Art, but with a focal range starting at 28mm, making the lens body significantly smaller and lighter while maintaining superb optical performance. It is the smallest and lightest lens in its class*. Remaining true to the Contemporary line’s core concept of maintaining an optimal balance between optical performance and lens size, this new optic delivers professional quality results in a body small enough to take on a casual outing.

In addition to prioritizing portability, SIGMA’s optical engineers introduced a new combination of coatings and structural elements that make this standard zoom well-equipped for use in a wide range of shooting environments. Likewise, the latest production and manufacturing techniques were employed to ensure exceptionally high build quality.

The 28-70mm F2.8 DG DN | Contemporary introduces another fast, high-performance, large-aperture zoom lens to SIGMA’s mirrorless line-up, offering a more compact alternative to the existing 24-70mm F2.8 DG DN | Art.

* As a standard zoom lens for full-frame mirrorless cameras with F2.8 brightness throughout the zoom range (Source: SIGMA, as of February 2021)

[Key features]

1. Design based on SIGMA’s Art line, with the same uncompromising optical performance
The optical design of the SIGMA 28-70mm F2.8 DG DN | Contemporary is based on the 24-70mm F2.8 DG DN | Art, which is renowned for its outstanding optical performance throughout its zoom range. True to the Contemporary line’s core concept, the 28-70mm F2.8 DG DN | Contemporary was developed to offer the right balance of performance and portability, and as such, this large-aperture standard zoom delivers outstanding image quality that rivals Art line lenses in a body light enough for day-to-day use. Building on state-of-the-art technology, the 28-70mm F2.8 DG DN | Contemporary has an advanced optical design that includes three aspherical, two FLD, and two SLD elements. Despite using fewer elements in total than the 24-70mm F2.8 DG DN | Art, the design results in a thorough correction of axial chromatic aberration and sagittal coma aberration, which cannot be corrected in-camera, allowing users to create images that are uniformly sharp from the center to the edges of the frame. Along with its anti-ghosting design, the use of Super Multi-Layer Coating and Nano Porous Coating means well-controlled flare for high-contrast results in backlit conditions. It also features a water and oil repellant coating on the front side of the lens.

In short, the SIGMA 28-70mm F2.8 DG DN | Contemporary combines all of the key optical features required of a large-aperture standard zoom lens, which are essential for photographing a wide variety of subjects in a range of shooting conditions.
・Comparison of the two optimal solutions to standard zoom lenses with F2.8 brightness throughout the zoom range.

With the addition of the new 28-70mm F2.8 DG DN | Contemporary, SIGMA now provides two optimal solutions of standard F2.8 zoom lens for mirrorless cameras ― the new 28-70mm F2.8 DG DN | Contemporary achieves remarkable portability and offers the same optical performance, as the existing 24-70mm F2.8 DG DN | Art which is for pro-use with the highest levels of performance throughout its focal range.

2. A lightweight and compact body ― ideal for day-to-day use

Being slightly less wide-angle than the 24-70mm F2.8 DG DN | Art has allowed a significant reduction in the size of the 28-70mm F2.8 DG DN | Contemporary lens body. In order to fit with the design concept of the Contemporary line, which balances performance with portability, the new lens features a simpler dust- and splash-proof structure and smaller switches. This makes it the smallest and lightest lens in its class*.

The new lens features just one lightweight focusing element, which keeps the AF unit small. This, along with a quiet and fast stepping motor, makes for responsive and near-silent autofocus performance.

The 28-70mm F2.8 DG DN | Contemporary weighs in at 470g, and when attached to the SIGMA fp, the entire setup is 890g. The supreme portability afforded by a camera system that weighs less than 1kg gives photographers a huge amount of freedom and flexibility to achieve their creative vision. It’s also a perfect combination for filmmakers looking for a high-performance, lightweight, easy-to-handle camera system that works well with a gimbal and other accessories.

A large-aperture, standard zoom lens that is light and small enough for casual outings, the 28-70mm F2.8 DG DN | Contemporary will open up new photographic possibilities for better and more creative results.

* As a standard zoom lens for full-frame mirrorless cameras with F2.8 brightness throughout the zoom range (Source: SIGMA, as of February 2021)

3. Superb build quality with exceptional attention to detail that provides an exceptional user experience

With priority given to optimal portability, the body of the SIGMA 28-70mm F2.8 DG DN | Contemporary consists primarily of lightweight parts. While conventional wisdom states that it is more difficult to ensure processing accuracy for plastic parts than metal parts, there has been no compromise whatsoever on build quality for the 28-70mm F2.8 DG DN | Contemporary. One reason for this is that it uses a type of polycarbonate called TSC (Thermally Stable Composite), which has a comparable level of thermal shrinkage to aluminum. This helps reduce differences between the thermal shrinkage of the metal and non-metal parts, ensuring stable levels of performance even in an environment with extreme temperature changes. The use of polycarbonates in the construction of zoom and focus rings can make their operation feel less premium, but with careful treatment to the precision of these parts and adjusting the movement with the lubricant appropriately, the rings offer a precise action with an exceptionally high-quality feel.

What allows us to achieve these precisely produced parts and such premium aesthetics is the impressive standard of manufacturing technology and rigorous quality control we have at the SIGMA Aizu Factory.

The SIGMA 28-70mm F2.8 DG DN | Contemporary offers a new and improved photographic experience for mirrorless users who require a fast aperture standard zoom lens. Its premium, intuitive build makes it as exciting to use the lens as it is to see the incredible images it can produce, inspiring you to start achieving your creative potential.

[Additional features]

  • Lens construction: 16 elements in 12 groups, with 2 FLD elements, 2 SLD elements and 3 aspherical elements
  • Internal focusing
  • Compatible with high-speed autofocus
  • Stepping motor
  • Compatible with lens-based optical correction
    * Function available on supported cameras only. Available corrections may vary depending on the camera model.
  • Nano Porous Coating
  • Super Multi-Layer Coating
  • Water and oil repellent coating (front element) Focus Mode Switch
  • Support DMF, AF+MF Petal-type lens hood
  • Simple dust- and splash-proof design
  • 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 “A1” 9-blade rounded diaphragm
  • High-precision, durable brass bayonet mount
  • ‘Made in Japan’ craftsmanship

To learn more about SIGMA’s craftsmanship, please visit SIGMA website at https://www.sigma-global.com/en/lenses/

[Key specifications]

The figures below are for L-mount.

Lens construction: 12 groups, 16 elements (2 FLD elements, 2 SLD elements, 3 aspherical elements) |Angle of view: 75.4°-34.3°|Number of diaphragm blades: 9 (rounded diaphragm) |Minimum aperture: F22| Minimum focusing distance: 19 (W)-38 (T)cm / 7.5-15.0in.|Maximum magnification ratio: 1:3.3 (W) – 1:4.6 (T)|Filter size: φ67mm|Maximum dimension x length: φ72.2mm×101.5mm / φ2.8-4.0in.|Weight: 470g / 16.6oz.

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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.”


Buy now:




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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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