Looking at the three lenses side-by-side at their respective maximum apertures, we can see that the 30mm f/1.4 provides the softest, most pleasant out-of-focus rendering. All three have round specular highlights (bokeh balls) at the centre which gradually lose their shape as they get closer to the edges. The 35mm f/1.8 and 30mm f/1.4 produce the most distinct “cat’s eye” bokeh balls in the corner. Sigma 30mm f/1.4 at f/1.4 Sony 35mm f/1.8 at f/1.8 Sigma 30mm f/2.8 at f/2.8 Accompanying each lens is a plastic lens hood which helps to mitigate flare and protect the front element. While the 35mm f/1.8’s is petal shaped, those of the two Sigma lenses are round. Looking at these examples and those in the sharpness section, there is no question that the 30mm f/1.4, with its very fast maximum aperture, smooth rendering and excellent sharpness at mid-to-close distances, is the best option for environmental portraits. It is closely followed by the 35mm f/1.8, while the 30mm f/2.8 can be used at a pinch. Flare, chromatic aberration, distortion The large ribbed focusing ring on the lens barrel is impossible to miss and is easy to find with your eye held to the viewfinder. I had no problem with manually focusing this lens, and I was able to get very accurate focus when using the magnified view offered by the Sony cameras. Even very slight nudges of the electronic focus ring were rewarded with precise shifts in focus. Highly responsive, a slow turn of the ring will shift the focus slightly, whereas a sharp shift could see you jump from a metre to infinity. The Sigma 30mm F1.4 DN is an exceptional performer, compared with its E-mount peers. Sharpness is not just high wide-open, it's also pretty well maintained across the field, falling off very gradually without any sudden drop near the edge (so there shouldn't be any nasty surprises at the corners.) As the lens is stopped down, sharpness improves across almost the entire frame,although much of the improvement ends up concentrated in the center 2/3 of the frame.

There’s only fairly minor lateral chromatic aberration, which only tends to be visible towards the extreme corners of the frame.Construcción: La calidad de construcción es una mezcla, el acabado es metalico y la rueda de enfoque manual va muy suave, la "bayoneta" es metálica también. El problema son las partes plásticas, que son del peor plástico "made un Taiwán", el borde de la objetivo, la rosca de filtro, la tapa de la lente, incluso la tapa trasera, pésimo, el peor ya digo es el frontal del objetivo. With the 30mm F1.4 DC DN Contemporary, Sigma has produced a real winner. They've made a sharper and brighter autofocus lens than anything available in the APS-C E-mount lineup. Not only that, but they've also eliminated any major penalties there used to be with using a third-party lens on E-mount cameras. Nella confezione vengono inclusi sia il tappo posteriore, che anteriore, sia un comodo paraluce. Purtroppo sigma non include una custodia per il trasporto, come invece fa nel 30mm f2.8: [[ASIN:B00BQXL5CM Sigma 33B965 Obiettivo 30mm-F/2.8 AF DN, Attacco E-Mount, SE System, Mirrorless, Nero]] This is Apsc lens, and Sony does not provide in body stabilization for its Apsc line. For us a6300 users, ibis is helpful. On my a7rii I wouldn't ever place neither of these two anyway for different reasons.

Close focus is available to 11.8 inches, fairly typical for a standard-angle lens. It's not a macro —maximum magnification is 1:7 life-size. You can work fairly close to subjects, just don't expect true macro results. Image Quality I have a ton of sample photos, so strap on board for this real world hands on review of the Sigma 30mm f/1.4 EX DC, using the Sony Alpha A55, and the Canon T3i for camera bodies. I received the lens for review in E-mount and tested it using the Sony a6500. The a6500 includes in-body stabilization—it's the only APS-C Sony camera with that feature at this time—so if you use it with another model you won't benefit from stabilization. If you're shooting with a different model, consider the Sony 35mm F1.8 OSS, which doesn't gather quite as much light, but is optically stabilized.

Sigma 30mm f/1.4 DN vs. Zeiss 32mm f/1.8 vs. Sony E 35mm f/1.8

We can say autofocus is somewhat goodish. But sometimes, it hunts. For 1-2 shots, it couldn’t focus at all. We need to rely on manual focus for those shots. It makes slight noise while focusing (compared to SEL18135, an absolute silent lens), but that wouldn’t bother you much. At their respective fastest apertures, the results appear almost identical even though the 35mm f/1.8 and 30mm f/1.4 have a much faster maximum aperture than the 30mm f/2.8.

Sharpness is impressive even when shooting wide-open at f/1.4. At this aperture, you can get a really tight depth of field when shooting at fairly short focus distances. Bokeh (the quality of defocused areas) is pleasantly smooth and remains so when stopping down a little, helped by a well-rounded 9-blade diaphragm.I’ve shot with this thing for hours straight in the city and haven’t had any issues with comfort. When hiking, I can toss it easily in my bag. Nel secondo caso è praticamente una scelta obbligata (anche perchè obiettivi alternativi superano di slancio i 1000 euro) nel primo caso ci sono da valutare un pò di opzioni. We can notice some compromise with materials quality with lens, lens hood, and lens cap. But, for this price and other advantages, I won’t complain about build quality much. I would say Sigma 30 mm feels okayish with the build quality, more plastic parts than SEL18135, I guess.

The fast f/1.4 aperture is amazing and can create incredible separation and bokeh effects that are sure to please and this lens is very affordable considering the huge heavy chunks of glass. Although this lens is designed to be used mainly with APS-C cameras, it’s possible to use it with full-frame models such as the Nikon Z6 II. If you do so, the camera will automatically switch to crop mode to give you again the 45mm equivalent focal length. You might therefore consider the Sigma lens a good alternative to the Nikkor Z 50mm f/1.8 S, which is a little more expensive, and a little bigger, than the Sigma. How sharp? Sharper than a Hattori Hanzo sword. It's reasonably sharp wide open, thank goodness, and matters improve as it's stopped down a bit. By f/5.6, you risk slicing your eyeballs. This is why we buy prime lenses, folks. Con todo esto no puedo recomendarselo a nadie con los ojos cerrados, problema es que para este sistema no hay demasidas opciones, tienes el 30 f3.5 que es macro y la apertura lenta, tienes el propio sigma 30 f2.8 que también es lento (sobre todo si tenemos en cuenta la falta de IS) tenemos el 35 f1.8 que es caro y una lotería (una de las que toca, a mi me toco dos veces seguidas y se me quitaron las ganas de volver a jugar... Terrible), y luego está el que tengo actualmente Samayang 35mm f1.2, pero es manual grande y pesado, con lo cual no es para todo el mundo, probablemente este sigma es la opción más equilibrada para fotografía (no hago video pero el ruido de enfoque no creo que sea nada recomendable para ello) pero, lo mejor es probarlo, alguno pensará que me ha tocado una "mala copia", quien sabe, aunque según los señores de sigma sus objetivos son fabricados en Japón (se esfuerzan mucho en promocionarlo) y comprobados uno a uno bajo los más altos estándares de calidad (comprobados con el sistema A1 antes de ser entregados dicen), no debería ser una mala copia entonces ¿No?. Bueno y si lo es, pues que se pongan las pilas y no produzcan copias así, no tenemos tiempo de andar probando objetivos, no somos beta-tester, pagamos por un producto en condiciones, comprobado y listo para usar. Quizá por el precio que tiene tampoco se le pueda exigir más, pero vamos, nitidez decente pero aberraciones horribles, calidad de construcción normalita, sin sellado contra el clima, sin estabilizador, AF ruidoso y que "respira"... Visto así una ganga no es tampoco. DC lenses are exclusively designed for digital SLR cameras. The image circle (rear of lens) is made to match the smaller dimensions used for the image sensor on digital cameras. As a result these lenses are also more compact and lightweight, and are better matched to digital SLR cameras.The only downside is that axial or ‘longitudinal’ chromatic aberration is sometimes visible when shooting at very wide apertures. Also referred to as ‘bokeh fringing’, this shows up as purple and green fringes around high-contrast transitions, in front of or behind the point of focus. Unlike lateral chromatic aberration, which generally only occurs towards the edges and corners of the frame, axial chromatic aberration can occur anywhere in the frame. Even so, the Sigma isn’t an underachiever in this respect, matching or beating many other fast primes including the Canon EF-M 32mm f/1.4. Reduce the aperture by a single f/stop and the fringing virtually disappears.