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The best 2023 Black Friday and Cyber Monday deals on photography gear

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The best 2023 Black Friday and Cyber Monday deals on photography gear


It’s that time of year again when people rush out to stores to climb over each other to buy $99 TVs and heavily discounted toys. While Black Friday (the day after Thanksgiving for those outside the U.S.) has usually been a brick-and-mortar event, you can generally get the same prices from the comfort of your bed.

Below are the deals that caught our eye. Remember that prices are subject to change, and these early discounts may be cheaper on Black Friday itself. This page is continuously changing, so check back often!

Adobe | Apple | Canon | GoPro | Fujifilm | Nikon | OM System
Panasonic | Samyang | Sigma | Sony | Tamron | Bags & Accessories


Adobe

Save 50% on Creative Cloud All Apps Plan for the first year


Apple

AirPods 2nd generation with Lightning charging case
$99 at Amazon.com – Save $30

AirPods Max
$449 at Amazon.com – Save $100

MacBook Pro 14″ (M1 Max, 64GB RAM, 2TB SSD)
$2499 at B&H Photo – Save $1600

MacBook Pro 14″ (M2 Pro, 16GB RAM, 512GB SSD)
$1599 at Best Buy – Save $400

MacBook Pro 16″ (M1 Pro, 16GB RAM, 1TB SSD)
$1949 at B&H Photo – Save $750

Mac mini (M2 Pro, 16GB RAM, 512TB SSD)
$1149 at B&H Photo – Save $150


Canon

Cameras

Canon EOS R3 body only
$4999 at Amazon.com – Save $1000
$4999 at B&H Photo – Save $1000

Canon EOS R5 body only
$3399 at Amazon.com – Save $500
$3399 at B&H Photo – Save $500

Canon EOS R6 Mark II body only
$2299 at Amazon.com – Save $200
$2299 at B&H Photo – Save $200

Canon EOS R8 body only
$1199 at Amazon.com – Save $300
$1199 at B&H Photo – Save $300

Canon EOS R10 Content Creator Kit with RF-S 18-45mm lens, stereo mic, Bluetooth remote, mini tripod
$999 at Amazon.com – Save $300

Canon EOS R50 with RF-S 18-45mm F4-5-6.3 IS STM lens
$699 at Amazon.com – Save $100
$699 at B&H Photo – Save $100

Canon EOS R50 Content Creator Kit with RF-S 18-45mm lens, stereo mic, Bluetooth remote, mini tripod
$799 at Amazon.com – Save $200

Canon EOS R100 with RF-S 18-45mm F4.5-6.3 IS STM
$449 at Amazon.com – Save $150

Lenses

Canon RF 14-35mm F4 L IS USM
$1199 at Amazon.com – Save $300
$1199 at B&H Photo – Save $300

Canon RF 15-30mm F4.5-6.3 IS STM
$499 at Amazon.com – Save $50
$499 at B&H Photo – Save $50

Canon EF-M 22mm F2 STM
$199 at Amazon.com – Save $50
$199 at B&H Photo – Save $50

Canon RF 24-70mm F2.8 L IS USM
$2099 at Amazon.com – Save $300
$2099 at B&H Photo – Save $300

Canon 50mm F1.8 STM
$169 at Amazon.com – Save $30
$169 at B&H Photo – Save $30

Canon RF 70-200mm F2.8 L IS USM
$2499 at Amazon.com – Save $300
$2499 at B&H Photo – Save $300

Canon RF 70-200mm F4 L IS USM
$1399 at Amazon.com – Save $200
$1399 at B&H Photo – Save $200

Canon RF 85mm F2 Macro IS STM
$499 at Amazon.com – Save $100
$499 at B&H Photo – Save $100

Canon RF 100mm F2.8 L Macro IS USM
$999 at B&H Photo – Save $400


Fujifilm

Cameras

Fujifilm GFX 100S body only
$4399 at Amazon.com – Save $1700

Fujifilm X-H2 body with VG-XH battery grip
$1849 at B&H Photo – Save $150

Fujifilm X-H2S body with VG-XH battery grip
$2299 at B&H Photo – Save $200

Fujifilm X-S10 body only
$899 at B&H Photo – Save $100
$899 at Moment – Save $100

Lenses

Fujifilm XF 16-55mm F2.8 R LM WR
$1099 at Amazon.com – Save $100
$1099 at B&H Photo – Save $100

Fujifilm XF 56mm F1.2 R WR
$899 at Amazon.com – Save $100
$899 at B&H Photo – Save $100

Fujifilm XF 90mm F2 R LM WR
$849 at B&H Photo – Save $100

Instant Cameras

Fujifilm Instax Mini 11
$59 at Amazon.com – Save $17

Fujifilm Instax Square SQ6
$89 at Amazon.com – Save $30


GoPro

GoPro Hero 9 Black 5K/30p action cam
$199 at Amazon.com – Save $30

GoPro Hero 12 Black 5.3K/60p HDR action cam
$349 at Amazon.com – save $50


Nikon

Cameras

Nikon D850 body only
$2496 at Amazon.com – Save $500
$2496 at B&H Photo – Save $500

Nikon Z30 Creator’s Kit (includes Røde mic, mini tripod, and Bluetooth remote)
$746 at B&H Photo – Save $250

Nikon Z5 body only
$996 at B&H Photo – Save $400

Nikon Z6 II body only
$1596 at B&H Photo – Save $400

Nikon Z7 II body only
$2296 at B&H Photo – Save $700

Nikon Z50 with 16-50mm F3.5-5.6 VR lens
$896 at Amazon.com – Save $100
$896 at B&H Photo – Save $100

Lenses

Nikon Nikkor Z 14-24mm F2.8 S
$2296 at Amazon.com – Save $200
$2296 at B&H Photo – Save $200

Nikon Nikkor Z 14-30mm F4 S
$1146 at B&H Photo – Save $200

Nikon Nikkor Z 17-28mm F2.8
$996 at Amazon.com – Save $200
$996 at B&H Photo – Save $200

Nikon Nikkor Z 24mm F1.8 S
$896 at B&H Photo – Save $100

Nikon Nikkor Z 24-70mm F2.8 S
$2096 at Amazon.com – Save $300
$2096 at B&H Photo – Save $300

Nikon Nikkor Z 28-75mm F2.8
$896 at Amazon.com – Save $300
$896 at B&H Photo – Save $300

Nikon Nikkor Z 35mm F1.8 S
$696 at B&H Photo – Save $150

Nikon Nikkor Z 70-200mm F2.8 VR S
$2396 at B&H Photo – Save $300

Nikon Nikkor Z 85mm F1.8 S
$696 at B&H Photo – Save $100


OM System

Cameras

OM-1 body only
$1899 at Amazon.com – Save $300
$1899 at B&H Photo – Save $300

OM-5 with 12-45mm F4 Pro lens
$1399 at Amazon.com – Save $200
$1399 at B&H Photo – Save $200

Lenses

Olympus M.Zuiko Digital ED 8-25mm F4 Pro
$899 at Amazon.com – Save $200
$899 at B&H Photo – Save $200

Olympus M.Zuiko Digital ED 40-150mm F2.8 Pro
$1299 at B&H Photo – Save $200

Olympus M.Zuiko Digital ED 100-400mm F5-6.3 IS
$1299 at Amazon.com – Save $200
$1299 at B&H Photo – Save $200


Panasonic

Cameras

Panasonic Lumix DC-G100 with 12-32mm F3.5-5.6 lens and tripod grip
$497 at Amazon.com – Save $300
$497 at B&H Photo – Save $300

Panasonic Lumix DC-G9 with 12-60mm F3.5-5.6 lens
$899 at Amazon.com – Save $200

Panasonic Lumix DC-S5 body only
$997 at Amazon.com – Save $800
$997 at B&H Photo – Save $800

Panasonic Lumix DC-S5 with 20-60mm F3.5-5.6 lens
$1297 at Amazon.com – Save $800
$1297 at B&H Photo – Save $800

Panasonic Lumix DC-S5 II body only
$1697 from B&H Photo – Save $300

Panasonic Lumix DC-S5 II with 20-60mm F3.5-5.6 lens
$1997 at B&H Photo – Save $300

Panasonic Lumix DMC-G7 with 14-42mm F3.5-5.6 II and 45-150mm F4-5.6 OIS lenses
$647 from B&H Photo – Save $150

Lenses

Panasonic Leica DG Vario-Summilux 10-25mm F1.7 ASPH (Micro Four Thirds)
$1497 at Amazon.com – Save $300
$1497 at B&H Photo – Save $300

Panasonic Leica DG Vario-Elmarit 8-18mm F2.8-4 ASPH (Micro Four Thirds)
$897 at Amazon.com – Save $200
$897 at B&H Photo – Save $200

Panasonic Leica DG Vario-Elmarit 12-60mm F2.8-4 Power OIS (Micro Four Thirds)
$797 at Amazon.com – Save $200
$797 at B&H Photo – Save $200

Panasonic Lumix S Pro 16-35mm F4 (L-mount)
$997 at Amazon.com – Save $500
$997 at B&H Photo – Save $500

Panasonic Lumix S 24-105mm F4 Macro OIS (L-mount)
$997 at Amazon.com – Save $300
$997 at B&H Photo – Save $300

Panasonic Lumix S Pro 70-200mm F4 OIS (L-mount)
$1197 at Amazon.com – Save $300
$1197 at B&H Photo – Save $300


Samyang

Samyang AF 18mm F2.8 for Sony FE
$299 at Amazon.com – Save $100
$299 at B&H Photo – Save $100

Samyang AF 35-150mm F2-2.8 for Sony FE
$999 at Amazon.com – Save $400
$1199 at B&H Photo – Save $400

Samyang AF 50mm F1.4 II for Sony FE
$521 at Amazon.com – Save $128

Samyang AF 85mm F1.4 II for Sony FE
$599 at Amazon.com – Save $200
$599 at B&H Photo – Save $200

Samyang AF 135mm F1.8 for Sony FE
$699 at Amazon.com – Save $300
$699 at B&H Photo – Save $300


Sigma

Sigma 14-24mm F2.8 DG DN Art for L-mount
$1299 at B&H Photo – Save $100

Sigma 14-24mm F2.8 DG DN Art for Sony FE
$1299 at B&H Photo – Save $170

Sigma 105mm F2.8 DG DN Macro Art for L-mount
$699 at B&H Photo – Save $100

Sigma 105mm F2.8 DG DN Macro Art for Sony FE
$699 at B&H Photo – Save $100

Sigma 150-600mm F5-6.3 DG DN OS Sports for L-mount
$1299 at B&H Photo – Save $200

Sigma 150-600mm F5-6.3 DG DN OS Sports for Sony FE
$1299 at B&H Photo – Save $200


Sony

Cameras

Sony a6100 with 16-50mm F3.5-5.6 PZ OSS lens
$698 at Amazon.com – Save $150
$698 at B&H Photo – Save $150

Sony a6100 with 16-50mm F3.5-5.6 PZ and 55-210mm F4.5-5.6 OSS lenses
$898 at Amazon.com – Save $200
$898 at B&H Photo – Save $200

Sony a6400 with 16-50mm F3.5-5.6 PZ OSS lens
$848 at Amazon.com – Save $150
$848 at B&H Photo – Save $150

Sony a6600 body only
$998 at Amazon.com – Save $200
$998 at B&H Photo – Save $200

Sony a7 III body only
$1498 at Amazon.com – Sony $500
$1498 at B&H Photo – Save $500

Sony a7 IV body only
$2298 at Amazon.com – Save $200
$2298 at B&H Photo – Save $200

Sony a7R V body only
$3498 at Amazon.com – Save $400
$3498 at B&H Photo – Save $400

Sony ZV-1F Vlog Camera
$398 at Amazon.com – Save $100
$398 at B&H Photo – Save $100

Lenses

Sony E 15mm F1.4 G
$648 at Amazon.com – Save $100
$648 at B&H Photo – Save $100

Sony FE 20mm F1.8 G
$798 at Amazon.com – Save $100
$798 at B&H Photo – Save $100

Sony FE 24-70mm F4 Vario-Tessar T* OSS
$698 at Amazon.com – Save $200
$698 at B&H Photo – Save $200

Sony FE 24-105mm F4 G OSS
$1198 at Amazon.com – Save $100
$1198 at B&H Photo – Save $100

Sony FE 35mm F1.4 GM
$1298 at Amazon.com – Save $100
$1298 at B&H Photo – Save $100

Sony FE 35mm F1.8
$648 at Amazon.com – Save $100
$648 at B&H Photo – Save $100


Tamron

Tamron 28-75mm F2.8 Di III VXD G2 for Sony FE
$799 at Amazon.com – Save $100
$799 at B&H Photo – Save $100

Tamron 28-200mm F2.8-5.6 Di III RXD for Sony FE
$699 at Amazon.com – Save $100
$699 at B&H Photo – Save $100

Tamron 35-150mm F2-2.8 Di III VXD for Sony FE
$1799 at B&H Photo – Save $100


Bags and Accessories

Lowepro Flipside 200 AW II Camera Backpack
$107 at Amazon.com – Save $25

Lowepro Flipside BP 400 AW III Camera Backpack
$140 at Amazon.com – Save $60

Lowepro Nova 200 AW II Messenger Case
$93 at Amazon.com – Save $17

Manfrotto Befree Advanced Camera Tripod
$161 at Amazon.com – Save $75

Moment DayChaser 35L Camera Backpack
$249 at Moment – Save $50

WANDRD PRVKE 31L Camera Backpack
$191 at Moment – Save $50



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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

Published

on

By

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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