Peter Burian tests five lenses with great light gathering ability: the Canon EF 70-200mm f/4L IS USM, Tamron AF 70-200mm f/2.8 Di LD (IF) Macro, Tokina AF 50-135mm f/2.8 AT-X Pro DX, Nikon 17-55mm f/2.8G ED-IF AF-S DX and the Sigma AF 30mm f/1.4 EX HSM DC

Because most digital SLR camera owners demand compact, lightweight lenses, the vast majority of zooms feature a small maximum aperture. A typical kit lens is designated as f/3.5-5.6 indicating that the maximum aperture is quite small at the short end and becomes very small at longer focal lengths. In practical terms, that translates to moderate light gathering ability. The larger the numeral the smaller the opening in the lens and the less light that will reach the camera’s digital sensor.

A wide aperture lens is ideal for fast shutter speeds in low light conditions when you cannot use flash or a tripod. Shooting at f/2.8 allowed me to get many sharp photos at 1/125 sec. during a stage performance, using ISO 1000. With a more typical (smaller) aperture, much higher ISO levels would have been required for the same shutter speed and the images would have been seriously degraded by digital noise. (Nikon 17-55mm at f/2.8.) (c) 2009 Peter K. Burian

On the other hand, some lenses feature a much wider maximum aperture such as f/2.8, an even wider f/1.8 or an incredibly wide f/1.4. These can transmit a great deal more light providing a variety of benefits discussed in a moment. For this Review, I decided to test four very popular models of this type (including a fixed focal length lens) and a one with a maximum aperture of f/4. While f/4 is not a particularly large aperture, it is constant with the Canon EF 70-200m f/4L IS USM lens and does not diminish in size as you zoom.

Wide Aperture Benefits

Most professional photographers and serious photo enthusiasts prefer wide aperture lenses for their greater light-transmitting ability. The amount of light reaching the film or digital sensor is not usually an issue on bright, sunny days. But in low light situations, the wider aperture allows for shooting at a faster shutter speed –such as 1/60 sec. versus 1/8 sec.– without the need to set a very high ISO level. That’s why lenses of this type are called “fast”. They can be valuable in producing sharper photos with less blurring from camera shake and/or subject motion.

While it’s possible to shoot at fast shutter speeds with any lens at a high ISO level, it’s great to do so at a lower ISO level where image quality is not degraded by digital noise. Check out the illustration below, for example, and you’ll appreciate the value of a faster lens at ISO 100. Granted, an image stabilizer can also provide sharper photos at fairly long shutter speeds, but when the subject is moving, a wide aperture lens is still very useful for preventing motion blur.

As these examples--made at apertures from very wide to moderately wide--confirm, the shutter speed is substantially faster at f/1.4 than at the more common apertures at any ISO, minimizing the risk of blurring caused by camera shake. (Sigma 30mm f/1.4; ISO 100.) (c) 2009 Peter K. Burian.

In addition to that aspect, there are three other benefits that are available with many “fast” lenses:

• Superior Quality: Because most wide aperture lenses are prosumer grade products, they usually feature very rugged construction, superior mechanisms and high-grade optical elements. Often, image quality is excellent at the commonly used f/stops, from about f/4 to f/11.

• More Effective Focusing: A wide aperture transmits a great deal of light, making manual focusing easier in dark locations, such as a theatre, a cathedral or a castle. Autofocusing is also quicker and more reliable in low light because a “fast” lens transmits more light to the camera’s AF sensor. This can make autofocus possible in situations where the camera would balk if you were using a more typical f/4-5.6 zoom.

• Shallow Depth of Field: Because very wide apertures (small f/numbers) provide less depth-of-field only the focused area will appear sharp in a photo. Especially at focal lengths of 135mm or longer–particularly in close focusing–it’s possible to render a cluttered background as a soft blur of color. A subject that’s sharply framed against a soft backdrop will immediately attract and hold the viewer’s attention. Be sure to focus very carefully however–on the most important subject element, such as an eye in a portrait–to ensure that it will be sharply rendered.

The Five Contenders

Moving on to specific products, let’s take a look at the four lenses with very wide maximum apertures and the fifth, an f/4 zoom with a built-in image stabilizer. That system can compensate for camera shake to prevent blurring caused by hand and body tremors; hence, there’s less need for an ultra wide aperture for faster shutter speeds.

Not all of the five lenses were available at the same time, but I tested each extensively both indoors and out. In order to take full advantage of their wide maximum apertures, I sought out events taking place in low light as well as others that allowed for shooting at mid-size apertures for optimal image quality. Some of these products are designated as multi-platform: suitable for 35mm film cameras and DSLRs regardless of the sensor size. The others were designed for use with the “smaller” sensors that are used in the vast majority of DSLR cameras.

Canon EF 70-200mm f/4L IS USM

Intended for those who find Canon’s f/2.8 model too large, heavy and expensive, the 70-200mm f/4L IS USM zoom Canon EF 70-200mm f/4 L IS USM Lens for Canon Digital SLR Cameras is more compact and hence more affordable (under $1200). The maximum aperture is a bit smaller however so you won’t get all of the advantages of a very “fast” zoom discussed in the introduction. Still, f/4 is wider than average in the telephoto zoom category and this lens is equipped with an image stabilizer (IS). By compensating for camera shake, that mechanism minimizes the need to use fast shutter speeds–and hence, high ISO levels–for blur-free photos.

A maximum aperture of f/4 is not very wide, at least when compared to f/2.8, but it does allow for a much smaller/lighter zoom lens. Also, the Image Stabilizer does reduce the need for a fast shutter speed re: blur from camera shake but provides no value in terms of "freezing" motion. (At f/4, 1/200 sec., ISO 1600, 70mm.) (c) 2009 Peter K. Burian

This multi-platform Canon lens is quite portable although the over-sized hood does make it seem large. The off-white metal barrel is very rugged, beautifully finished and water/dust resistant. The barrel never rotates or protrudes so constant balance is maintained. Rotate the wide rubberized zoom and focus rings and you’ll find very smooth operation with a lot of friction: not a loose, sloppy feel. Thanks to internal focusing and zooming the barrel never protrudes or rotates.

The USM designation indicates an Ultrasonic Motor for super fast, silent autofocus. The designers specified high grade optical components including a piece of (very expensive) fluorite glass and another Ultra Low Dispersion (UD) element. The combination is remarkably effective in correcting chromatic aberration. In practical terms, they force all wavelengths of light to focus on the film or digital sensor, ensuring optimal sharpness–and minimizing “purple fringing” around subject edges–even at f/4. (Full Specifications are available at Canon USA.)

Evaluation: Although Sigma, Tamron and Nikon also make some lenses with stabilizer systems, this was the only one of the five to include a camera shake compensating device. The Canon 70-200mm f/4 zoom provides two stabilizer modes: one is for use with static subjects and another for panning with a subject moving across your line of vision. Even at 200mm–a 320mm equivalent with most EOS cameras–I was able to get many sharp photos at 1/50 sec. No stabilizer can freeze motion however, so a higher ISO level is still required for fast shutter speeds with an f/4 lens versus an f/2.8 lens.

At the commonly used apertures, the Canon lens produced exceptional image quality. As a bonus, its Ultrasonic AF system provided a high success ratio of sharply focused shots in action photography; roughly 90% of my images from this event are sharply focused. (At f/7.1, 1/1000 sec., ISO 400, 121mm; Hoya digitally-optimized Circular Polarizer.) (c) 2009 Peter K. Burian

Autofocus was equally impressive: lightning fast, nearly silent and very reliable in tracking erratic motion during a triathlon. At every zoom setting and focused distance, my images are sharp across the entire frame. As you might expect from the L designation (for “luxury”) this zoom produced very high resolution of intricate detail even at f/4; the images look great as 12×18″ prints. There’s no obvious softness–or any darkening–even in the corners. Images made at f/5.6 to f/11 are even better, suitable for gallery-quality 15×22″ prints.

This was my favourite of the five tested because it’s a fine all-around performer in terms of autofocus, optical quality and the effectiveness of its stabilizer. If the price exceeds your budget, check out the Canon EF 70-200mm f/4L USM model Canon EF 70-200mm f/4L USM Telephoto Zoom Lens for Canon SLR Cameras without the IS designation. That older zoom does is not equipped with a stabilizer and it’s not as weather-resistant but provides almost the same level of performance for about $400 less. Those appreciate the significant benefit provided by a stabilizer system will want to save up in order to buy the newer IS-designated version.

Pro’s and Con’s: Several factors make this a very desirable lens: the stabilizer, ultrasonic AF, the pro caliber optical formula and the tough, weather-resistant construction. On the other hand, the Canon zoom is expensive for an f/4 model and the tripod mounting collar is an extra cost option. Opteka makes an affordable tripod mount, but I cannot vouch for the quality of that accessory.

The Canon version (A II W) is excellent of course, but it adds $150 to the price of the lens.

Tamron SP AF 70-200mm f/2.8 Di LD (IF) Macro

Replacing a larger, heavier 70-210mm f/2.8 Tamron model, this multi-platform Tamron Di zoom (Tamron AF 70-200mm f/2.8 Di LD IF Macro Lens for Canon Digital SLR Cameras) benefits from much closer focusing ability and a “clutch” that allows for quickly switching from AF to manual focus. Extensive use of multiple layers of chemical coatings plus an over-sized lens hood minimize flare from a highly reflective digital sensor and also from external light sources. Three large low dispersion (LD) elements correct optical aberrations which would otherwise degrade image quality especially at f/2.8 and at f/4.

The wide f/2.8 aperture was very useful for fast shutter speeds--such as 1/160 sec. to freeze motion--during a stage performance where flash and tripods were prohibited. For this shot I used ISO 800. With a "slower" lens, a much higher ISO level would have been required: ISO 1600 at f/4 or ISO 3200 at f/5.6. (At 70mm, f/2.8.) (c) 2009 Peter K. Burian

A high-grade product, this zoom features a very rugged barrel finished in matte black and a (removable) metal tripod mounting collar. It’s compatible with Tamron’s 1.4x and 2x teleconverter, accessories that can extend the focal length into super telephoto category. The extra wide rubberized focusing and zoom rings provide a solid, familiar feel, with plenty of friction. Because the lens barrel does not protrude during zooming or focusing, weight distribution always remains constant. That’s particularly important when this hefty lens is used on a tripod.

Evaluation: The advanced optical formula provided images with snappy contrast as well as remarkably high sharpness across the entire frame. Optimal performance was provided in the 70mm to 140mm range at f/8 but I never hesitated to shoot at f/2.8 at any focal length for fast shutter speeds. By f/4, edge sharpness–and edge brightness–were excellent; the photos are suitable for making 14×21″ prints of stunning quality. Even images made at f/2.8 allowed me to make very good 12×18″ prints. That’s a fine achievement for a relatively affordable ($800) lens, qualifying this Tamron model as a “best value” in its category.

The Tamron zoom produced very high image quality at f/8 at all apertures and focal lengths. Autofocus (with an EOS 40D) was quite fast and reliable with action subjects; roughly 70% of my photos from this event were sharply focused. (At 200mm, f/8, ISO 400; Hoya digitally-optimized Circular Polarizer.) (c) 2009 Peter K. Burian

This lens can provide an impressive 0.32x magnification in close focusing at 200mm. In images of colorful blossoms, sharpness was excellent, particularly in the f/5.6 to f/16 range. While an ultrasonic motor might make autofocus even faster, I was able to get many sharp photos during a marathon and a horse jumping event. Autofocus failed occasionally but the overall performance was fine. In low light, AF remained reliable because the wide aperture transmitted a lot of light to the autofocus sensor.

The close focusing ability of the Tamron zoom was useful for frame filling images of moderately large nature subjects. Image quality was very good at f/11 and f/16, apertures that I often used for adequate depth of field. (At 200mm, f/11, ISO 400.) (c) 2009 Peter K. Burian

The f/2.8 aperture and solid construction do make this lens somewhat large and heavy at 41 oz. (Full specifications are provided at Tamron; the model for Nikon includes a built-in focus motor.)

Many families would prefer the more portable 19.5 oz. Tamron 18-270mm f/3.5-6.3 Di II VC LD Aspherical IF Macro model (about $630) Tamron AF 18-270mm f/3.5-6.3 Di II VC LD Aspherical IF Macro Zoom Lens for Canon DSLR Cameras–with built-in image stabilizer–in spite of its much smaller maximum apertures. Although not intended for everyone, Tamron’s 70-200mm f/2.8 zoom will certainly satisfy demanding photographers. Considering its level of performance–and the surprisingly affordable price–it offers excellent value. Used with serious shooting techniques, the lens will pay dividends in terms of professional caliber images.

Pro’s and Con’s: This rugged Tamron lens offers excellent value for an f/2.8 tele zoom and it provides higher magnification than average in close focusing. On the other hand, it’s larger/heavier than the EF 70-200mm f/4 zoom, but that’s relevant only to owners of Canon SLR’s. (Only one other current telezoom of a major brand features a constant maximum aperture of f/4, the huge Sigma APO 100-300mm f/4 EX DG HSM lens Sigma 100-300mm f/4 EX DG IF HSM APO Fast Aperture Telephoto Zoom Lens for Canon SLR Cameras.) While autofocus would be faster if the Tamron lens included an ultrasonic motor, AF performance is fine as is, except for serious sports photographers.

Tokina AF 50-135mm f/2.8 AT-X Pro DX

Designed strictly for DSLR cameras with the typical “small” sensors, this 50-135mm zoom ($530) does not provide as much “reach” as the 70-200mm models but it does include some shorter focal lengths. It’s quite compact and not very heavy but still meets pro standards in terms of all-metal construction and the quality of the focus/zooming mechanisms. A “clutch” allows for quickly shifting between AF and manual focus by moving the focus ring about one centimeter. The metal tripod mounting collar is not removable so its weight is reflected in the specifications for the lens.

While a longer 70-200mm zoom is more useful for some purposes, the 50-135mm Tokina lens provided an 80-216mm equivalent on an EOS digital SLR; that's plenty for many types of subjects. The wide f/2.8 aperture allowed me to shoot at ISO 1000 even when I needed to use a shutter speed of 1/250 sec. in low light; my letter size prints are excellent. (At 62mm, f/2.8.) (c) 2009 Peter K. Burian

This f/2.8 Tokina zoom is equipped with three Super Low Dispersion (SD) glass elements to correct for chromatic aberrations and to focus all colors of light accurately at the sensor plane. Note too, that Tokina employs a new type of coating on the front element; this makes it very easy to remove fingerprints and water droplets. Extensive use of multi-layer chemical coatings plus an over-sized lens hood combine to minimize flare for snappy contrast even in strong side-lighting. (Check the full Specs at THK Photo Products, Inc.. This lens is available in EOS and Nikon mount.)

This is another lens with internal focusing and zooming; the front element does not rotate and the barrel never protrudes. This design–and the very wide maximum aperture–helps to accelerate autofocus. While it’s not equipped with an ultrasonic AF motor, I found that autofocus was quite quick and reliable. This 80-216mm equivalent zoom is too short for most action photography but it is compatible with the Kenko Pro 1.4x and 2x teleconverter; those accessories would make it more versatile.

Evaluation: The mechanical and optical materials are really first-rate so there’s no need to use specific apertures or focal lengths for optimal image quality. This level of consistency is a sign of a very well designed lens. While there is a bit of shading (darkening at the corners), that’s noticeable only at f/2.8 and f/3.5. Clarity, sharpness and resolution of fine detail are all very good, particularly from f/4 to f/11. My best images made for richly-detailed 12×18″ prints that look great even under close scrutiny.

The Tokina zoom produced very fine image quality at f/4 to f/11 at any focal length, so the resulting images made for excellent prints in sizes up to 12x18". While this lens is not equipped with a focus motor, that's a problem only for owners of certain Nikon DSLRs. (At 62mm, f/10, 1/200 sec., ISO 400; flash.) (c) 2009 Peter K. Burian

The manufacturer of Tokina lenses (the Tokina, Hoya, Kenko consortium) is not as prolific as Sigma and Tamron in introducing many new products each year. The 50-135mm f/2.8 zoom, for instance, was released in November 2006 and the model for Nikon does not include the motor required for autofocus with the D40, D40x, D60, D5000 and future affordable Nikon DSLRs. (Some of the newer Tokina lenses are equipped with the focus motor so they provide AF with any DSLR.) In all other aspects the Tokina brand definitely deserves your consideration. Like every AT-X zoom I have tested since 1999 the 50-135mm lens should certainly satisfy many serious shooters.

Pro’s and Con’s: This lens’ strong points include an all metal barrel, three high-grade SD elements and a high degree of consistency at all apertures/focal lengths. Drawbacks include the lack of ultrasonic AF and the AF motor necessary with some Nikon cameras; note too, that the tripod mounting collar is not removable as it is with the longer zooms, so it always adds slightly to the weight of the lens. Still, the Tokina 50-135mm f/2.8 zoom is relatively compact/lightweight, especially when compared to a 70-200mm lens.

Nikon 17-55mm f/2.8G ED-IF AF-S DX

A “standard” zoom with a wide maximum aperture, this lens Nikon 17-55mm f/2.8G ED-IF AF-S DX Nikkor Zoom Lens was designed to attract professional photographers who often shoot in low light. Built to withstand extensive use under difficult conditions, the rugged all-metal barrel includes three Extra-low Dispersion (ED) glass elements plus three aspherical to correct all types of optical aberrations and distortion. An over-sized lens hood plus extensive multilayer coating provide very effective protection against flare.

Fit and finish are first-class in all respects. The wide, rubberized focus and zoom rings provide buttery-smooth operation with lots of friction. The internal barrel does protrude slightly at the 17mm zoom setting but does not rotate during focusing. Rubber seals provide protection against moisture, extreme humidity and dust. Internal focusing plus an ultrasonic Silent Wave Motor (SWM) enable unusually fast autofocus; manual override is possible in AF mode. Particularly when used with a high-end DSLR (with a superior AF system), this wide aperture lens provides instant focusing even in low light.

Even at the maximum aperture required for fast shutter speeds in low light, the Nikon zoom provides unusually high sharpness/resolution in the central 2/3 of the image area. In fact, at wide apertures, this is one of the best "standard" zoom lenses that I have ever tested. (At 26mm, f/2.8, 1/180 sec., ISO 1600.) (c) 2009 Peter K. Burian

Evaluation: As you might expect from a lens used by numerous photojournalists and other professionals, this one can provide superlative image quality. Particularly in the 28-55mm range, sharpness is very high in the central two-thirds of the image area even at f/2.8. In the f/4 to f/11 range, edge sharpness and brightness are excellent as well; the images would be perfect for making 16×24″ outputs for publication or for wall decor. Even at the shorter focal lengths, the Nikon lens provides fine performance; images made at 17mm to 27mm at f/4 to f/11 produced very good 13×19″ inkjet prints.

Stopping down to the f/4 to f/11 range allowed the Nikon lens to provide impressive quality across the entire frame at short focal lengths, and even better in the 28-55mm range. (At 17mm, f/f/10, 1/20 sec. Hoya digitally-optimized Circular Polarizer.) (c) 2009 Peter K. Burian

This Nikon zoom is large/heavy but well-balanced when used with a hefty camera like the D300. Unless you need a pro-calibre f/2.8 zoom, you might be just as happy with Nikon’s AF-S DX 16-85mm f/3.5-5.6 ED VR II. That lens costs about half as much and is smaller/lighter, more versatile and includes an image stabilizer; it’s also capable of providing very fine image quality. On the other hand, an aperture of f/2.8 is valuable in low light, for faster shutter speeds that will more effectively “freeze” a moving subject without the need for a higher ISO level.

Pros and Cons: Aside from the size/weight this Nikon zoom is just about perfect in terms of construction, optical technology and autofocus. Considering the upscale price (about $1400) however, I would also have appreciated a Vibration Reduction stabilizer. Optical performance could be even better at short focal lengths, I suppose, but that’s probably nitpicking.

Sigma AF 30mm f/1.4 EX HSM DC

One of the relatively few f/1.4 lenses designed exclusively for DSLRs with “small” sensors, this 30mm model Sigma 30mm f/1.4 EX DC HSM Lens for Canon Digital SLR Cameras features a huge maximum aperture; it’s two stops wider than f/2.8. That’s interesting but consider the practical value: when using the same ISO level, this lens allows for shooting at a shutter speed that’s four times faster. Compare this Sigma lens to one with a maximum aperture of f/5.6 and the f/1.4 lens allows you to shoot at a shutter speed that’s sixteen times faster. That’s great for low light photography when a tripod or flash is prohibited or impractical.

As with any f/1.4 lens, depth of field is extremely shallow at f/1.4 in close focusing so only the focused plane is really sharp. That's due to an optical characteristic and is not a performance issue. Granted, the Sigma lens does provide better results at smaller apertures, but f/1.4 can be very useful in low light photography. (At f/1.4.) (c) 2009 Peter K. Burian

Photographers who use film camera often own a wide aperture 50mm lens and this 30mm lens is roughly equivalent to that because of the smaller DSLR sensors. Optical aberrations can seriously degrade image quality at f/1.4 to f/2 so this lens includes two pieces of Special Low Dispersion glass plus two Aspherical elements. In order to maximize autofocus speed, Sigma installed their Hyper Sonic Motor for very fast, silent autofocus with Canon, Nikon or Sigma DSLRs. Because the huge aperture transmits a great deal of light to the camera, autofocus is reliable even in dark locations.

Note: A nearly identical model is available in Sony/Maxxum and Pentax mounts but does not include the Hypersonic AF motor so autofocus is not as fast or as quiet. (The full Specs are available at Sigma)

Although this lens with metal barrel is larger/heavier than you would expect, it’s still very portable when compared to most zooms. The wide, rubberized focus ring has a smooth action and the front element does not rotate. Manual focus override is possible in AF mode, convenient for quickly making minor changes when necessary. Because of the unusually wide lens aperture, the viewfinder provides a particularly bright view of a subject even in low light and autofocus remains quite fast.

Evaluation: In order to maximize the lens’ primary feature, I often worked at f/1.4 to f/2 while taking photos at various indoor events. At these f/stops, image quality is highly acceptable but not perfect. Sharpness in the central 60% of the frame is very good but there’s some obvious softness at the edges. Darkening at the corners is noticeable in photos of light-toned subjects but it’s not really visible with more typical scenes. After some work in Photoshop, my best shots made for very nice 8×10″ glossies.

At the most commonly used apertures, the Sigma lens produced excellent image quality; in fact, it's better than many zoom lenses in this respect. (At f/9, 1/50 sec., ISO 100; Hoya digitally optimized Circular Polarizer.) (c) 2009 Peter K. Burian

Switching to f/4 provides more even brightness and sharpness across the frame. Optimum quality is available at f/8, suitable for making very good 13×19″ glossies. While some of the Sigma EX-series zooms provide even better results — and greater versatility in focal lengths — none feature an aperture wider than f/2.8. And that’s what makes an f/1.4 lens preferable as a problem solving tool. If you often shoot in dark locations where flash and a tripod are not practical, this compact Sigma lens deserves a spot in your camera bag.

Pro’s and Con’s: This is a fine lens particularly at the most commonly-used apertures and autofocus is very fast in the models equipped with the HSM motor. While edge sharpness/brightness could be better at very wide apertures, the Sigma f/1.4 model offers good value for the price (under $450), considering it’s high-grade construction and optical elements.

The Bottom Line

Not everyone needs a large, heavy and pricey “fast” lens because many zooms–and some DLSR bodies–incorporate an image stabilizer. That system reduces the need for fast shutter speeds to prevent blurring from camera shake. Granted, the faster shutter speed provided by a wide aperture is valuable in a lens that will be used for action photography. In any event, I’ll summarize my findings briefly, as follows.

The Tokina 50-135mm f/2.8 zoom is too short for that purpose unless used with teleconverters and those are not inexpensive. Still, this would be a fine choice for anyone who appreciates the focal length range available with this rugged, reasonably affordable and compact f/2.8 lens.

The Tamron and Canon 70-200mm models are fine performers with the latter holding an edge in terms of portability, AF speed/reliability, some aspects of image quality and its built-in stabilizer. But the Tamron zoom’s f/2.8 aperture is more attractive for low light photography and for those who often use a teleconverter.

The Nikon 17-55mm zoom and the Sigma 30mm lens are not directly comparable to any of the others and they’re not “mass market” products. But if you often shoot indoors without flash or a tripod, the Sigma model might be worth considering. While image quality is best at smaller apertures, the ability to shoot at f/1.4 can be a valuable problem-solver in some situations. As suggested earlier, a more affordable Nikon zoom with Vibration Reduction stabilizer might be more appealing to many shooters than the expensive f/2.8 model that I tested. The pro grade zoom certainly has merits of course and it would be a fine choice for those who need tank-like construction and often photograph moving subjects in low light.

If you own or have used this lens, let us know what you think! Leave your comments and thoughts below.

Thom Hogan

Oh my, here’s a lens wide enough to take in almost your entire vision, yet with very little linear distortion (i.e., straight lines remain straight). Sigma has managed to make a very wide angle lens without most of the optical issues that plague them (light falloff, corner softness, chromatic aberration, etc.). With one major caveat, the Sigma 14mm f/3.5 is a decent performer. The edges are a little soft wide open. And I wouldn’t use the lens at f/22, as defraction seems to take a bit of sharpness away at minimum aperture. Fortunately, depth of field is so great even at f/3.5 (hyperfocal distance is less than 8′), that you’ll never really need to stop all the way down. I expected more light falloff in the corners, but this common wide-angle problem is well controlled on this lens. Unbelievably, straight lines really do stay straight. READ FULL REVIEW

Other Sigma 14mm f/3.5 AF Reviews

If you own or have used this lens, let us know what you think! Leave your comments and thoughts below.

Get information and user reviews for this lens from Amazon: Sigma 180mm f/3.5 EX IF HSM Macro Lens for Nikon SLR Cameras

Photo Zone

The is a very capable macro lens with very high resolution figures, marginal vignetting and non-existing distortions. Unfortunately CAs are a on the high side which is unusual for a tele fix-focal lens – this is a correctable issue though (via PS ACR, RawShooter, etc.). The build quality is very high and thanks to HSM the AF operates pretty fast and virtually silent. Compared to similar genuine brand lenses the AF 180mm f/3.5 EX APO macro is an absolute bargain at less than half the costs. However, all-in-all the Sigma AF 150mm f/2.8 EX HSM APO macro DG was a little more convincing. “¦ READ FULL REVIEW

Other Sigma 180mm f/3.5 EX IF HSM APO Macro AF Lens Reviews

If you own or have used this lens, let us know what you think! Leave your comments and thoughts below.

Digital Picture

One of the best situations in which to consider a third party lens is when the camera body manufacturer does not have an equivalent offering. Meet the Sigma 20mm f/1.8 EX DG Lens – as of this writing, Canon does not offer a lens this wide with an aperture this large. Unfortunately, I consider the Sigma 20mm f/1.8 EX DG Lens to be unusable at f/1.8 unless you are looking for a soft-focus effect. This lens is one of the softest I’ve seen wide open. Realistically, this will be an f/2.8 lens to most people as the center does not become decently sharp until this aperture. Sorry Sigma, this one is a dud. If you want a fast 20mm lens, I suggest saving for the Canon EF 16-35mm f/2.8 L USM Lens. It far surpasses the performance of the current Sigma and Canon 20mm lenses in all regards. READ FULL REVIEW

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Photo Zone (Canon Mount Tested)

Due to its ultra-large max. aperture the Sigma AF 20mm f/1.8 EX is very ambitious lens. In theory you may argue that lens may be used for low light photography but its performance at max. aperture isn’t really good enough for this. However, thanks to the very reduced depth-of-field you can exploit some creative potential at f/1.8 by blurring the surroundings of an object (see e.g. the flower pot sample shot above). At a more conventional aperture setting of f/2.8 the lens is already capable to deliver decent results and at medium apertures it is even excellent. Besides being faster the lens is slightly, sometimes even substantially cheaper than genuine manufacturer 20mm lenses so it can give you lots of bangs for your bucks … assuming a good sample that is. READ FULL REVIEW

If you own or have used this lens, let us know what you think! Leave your comments and thoughts below.

Photo Zone

The Sigma AF 400mm f/5.6 HSM APO macro may be discontinued but this surely doesn’t originate in performance factors. The lens is capable to delivery high quality images with very high resolution, low vignetting and insignificant distortions as well as a negligible degree of CAs. The build quality is also decent apart from the AF/MF switch and the focus limiter. Same goes for the focusing speed thanks to Sigma’s HSM (ultrasonic) AF drive. So if you’re looking for a high performance 400mm lens on a budget it is surely worth to check out the used market for this lens. However, you should make sure that the lens is still compatible to today’s DSLRs. The tested sample had no real issues on the EOS 350D but older samples with an old firmware may even lock up your camera. This is especially likely for the older variants with a conventional AF motor (non-HSM). Unfortunately Sigma doesn’t seem to be able to provide firmware updates for all these 400mm lenses anymore. “¦ READ FULL REVIEW

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Get information and user reviews for this lens from Amazon: Sigma 30mm f/1.4 EX DC HSM Autofocus Lens & Opteka Battery Pack Grip & 2 EN-EL3e Batteries (3400 mAh Total) & Filters & Accessories for Nikon D80 Digital SLR Camera

Photo Zone

We all know that zoom lenses are compromises regarding speed and performance but we expect fix-focals to perform better than that. Sigma AF 30mm f/1.4 EX HSM DC may perform pretty good in absolute terms but for a fix-focal the lens disappoints a little. The center performance is exceptionally high but the borders are not all that impressive. The other image parameters such as distortions, vignetting and CAs are Okay but nothing to rave about. So at the end of the day the only differentiator is its ultra-large aperture – it’s up to you whether this is good enough compared to classic 28mm or 35mm lenses. READ FULL REVIEW

Other Sigma 30mm f/1.4 EX HSM DC AF Reviews

Ken Rockwell

The Sigma 30mm f/1.4 is a special-purpose, fast, fixed normal focal length lens for digital SLRs. It sells for about $429. This Sigma lens works well when used as intended for hand-held shots in dim light. If you need a full f/1.4 in a normal focal length for a digital camera (normal for a digital SLR is 28mm, not 50mm), can work around some repeatable autofocus inaccuracy and want to spend about $400, this is your lens. READ FULL REVIEW

Digital Picture

A fast aperture lens always garners attention and the Sigma 30mm f/1.4 EX DC HSM Lens is no exception. Photographers wasted little time in making this lens one of their favorites. Adding a relatively low price point, fast HSM autofocusing, small size and good build quality to the fast aperture puts the 30 f/1.4 in its own class. At 2.97″ x 2.3″ (75.5mm x 59mm)(DxL) and 15.2 oz (430g), the Sigma 30mm f/1.4 EX DC HSM Lens is relatively small and in the medium-light weight class. The 62mm filter diameter is somewhat unusual (some of Sigma’s non-EX zoom lenses share this size). Build quality is very nice. If you like Sigma’s standard slightly-speckled matte finish, you will like how this lens (and its included hood) feels. Mounted on a 1.6x body, this is a very nice handling lens. Sigma’s HSM (Hypersonic Motor) internal autofocus is very nice – reasonably fast and very quiet. The Sigma 30mm f/1.4 EX DC HSM Lens is somewhat soft wide open and steadily improves to quite sharp at f/2.8. Corner sharpness trails center sharpness by a stop or two. Bokeh from the 8-blade aperture is nice. Colors are decent, contrast is good. CA (Chromatic Aberration), though not absent, is very well controlled. Flare is well-controlled. READ FULL REVIEW

SLR Gear

All in all, Sigma seems to have done exactly what they set out to do with this lens, namely provide a fast, high-quality “normal” lens for DSLRs with APS-C sized sensors. It’s well built, delivers good results optically, and is a (reasonably) affordable lens to own. If you’re a Canon owner and really don’t need either the build quality or fast f/1.4 maximum aperture of this lens, you could save yourself some money by going with the excellent Canon 35mm f/2.If you do need f/1.4 though, this lens from Sigma is a great option. READ FULL REVIEW

Photo Review

A very fast prime lens that covers a ‘normal’ angle of view and is designed for ‘APS-C’ format DSLR cameras. Sigma’s 30mm F1.4 EX DC HSM lens is solidly constructed and available in mounts to suit all popular brands – including Olympus and Panasonic. On the Canon EOS 40Dand 400Dcameras we tested it on, this lens equates to a 48mm lens on a 35mm camera – which is close to a ‘standard’ viewing angle. It cannot be used on DSLRS with ‘full frame’ sensors because it vignettes at the corners of the frame. READ FULL REVIEW

If you own or have used this lens, let us know what you think! Leave your comments and thoughts below.

Get information and user reviews for this lens from Amazon: Sigma 50mm f/1.4 EX DG HSM Lens for Canon Digital SLR Cameras

Photo Zone

The new Sigma AF 50mm f/1.4 EX DG HSM is a refreshing alternative in the long-ignored standard AF lens market. The lens is fairly big and heavy due to unusually big glass elements but thanks to the design efforts it is already capable of delivering very sharp images straight from f/1.4 and the resolution is truly impressive at medium aperture settings. Distortions, vignetting as well as CAs aren’t overly relevant in field conditions. The bokeh can be a bit nervous at f/1.4 but it’s smooth and buttery from f/2 onwards. The build quality of the lens is excellent. The HSM AF drive is very fast and virtually silent. All-in-all – highly recommended but watch out for focus accuracy problems. READ FULL REVIEW

Other Sigma 50mm f/1.4 EX DG HSM AF Reviews

Digital Picture

It is hard not to be drawn to a fast prime – the short, fat, solid-feeling lens with very low-light capability is very attractive. So, I don’t find it surprising that the Sigma 50mm f/1.4 EX DG HSM Lens has received a lot of attention in the early days of its availability. What you also get when shooting with a wide-aperture lens wide open is a narrow DOF (strongly blurred background and foreground – especially with a close focus distance) and a fast, action-stopping shutter speed. Both of these are great attributes, but if you are relying on autofocus for this action it needs to be very accurate to deliver the DOF at the right focus distance. Even a relatively small mis-focus results in a blurred subject. And to cut to the chase, the Sigma 50mm f/1.4 EX DG HSM Lens has proven very inconsistent for me in the focus accuracy department. Inconsistent focus accuracy is definitely the downside of this lens. It is possible that another copy of this lens would focus more consistently, but my guess (helped by feedback from others) is that my lens is representative of this model. READ FULL REVIEW

Digital Photography Review

This new lens essentially redefines its class, and for once the results really live up to the marketing hype; compared to previous designs, we see significantly improved sharpness at large apertures (presumably due to a reduction in aberrations through the use of an aspherical element), and substantially lower vignetting due to that that oversized lens barrel. Chromatic aberration (both axial and lateral) has been impressively minimized, and distortion is low – in optical terms there’s simply little to fault. In short, Sigma appears to have taken a fresh look at how photographers now tend to use 50mm primes as a complement to zooms for low-light and portrait shooting, and optimised the lens to match, paying attention predominantly to high central performance at wide apertures over corner-to-corner evenness stopped down. The designers have also recognised the dominance of DX/APS-C as the current de facto standard sensor size, and ensured good performance across the frame even on this resolution-hungry format. The rendition of out-of-focus backgrounds is pleasantly smooth, again suggesting that Sigma considered portrait shooting to be an important application when designing this lens. The result is a 50mm F1.4 which is a far better portrait lens on APS-C than legacy primes designed for 35mm film, as well as an extremely competent standard on 35mm full-frame. READ FULL REVIEW

Photo Review

A fast, high-performance 50mm prime lens for DSLR cameras from Sigma, Canon, Nikon, Pentax and Sony. The 50mm f/1.4 EX DG HSM is the first large-aperture 50mm prime lens to be manufactured by Sigma and the company has gone to considerable lengths to include the latest designs and technology. Unlike the 50mm f/1.4 primes from other manufacturers, which use designs that hark back to the 1970s, this lens is bang up-to-date, with a Hyper Sonic Motor (HSM) ensuring silent, high-speed AF; a non-rotating front element and a moulded aspherical optical component. READ FULL REVIEW

If you own or have used this lens, let us know what you think! Leave your comments and thoughts below.

Photo Zone

The Sigma AF 50mm f/2.8 EX macro DG is an excellent lens without any significant optical flaws. Compared to the Canon EF-S 60mm f/2.8 USM macro it shows less vignetting at wide-open aperture – other than that both lenses perform quite similar. Mechanically the Canon has an edge though thanks to a fast USM AF drive combined with a true IF design (constant length). However, the Sigma is earns some points due to its lower price tag and a more future-proof full-frame design. As such it can be highly recommended. READ FULL REVIEW

Other Sigma 50mm f/2.8 EX macro DG AF Reviews

SLR Gear

As its name reveals, the Sigma50mm f/2.8 Macro stands out in this six-lens 50mm shootout as the only lens offering Macro capability. Additionally, it delivers sharp (both center and corner) photos over quite a large aperture range f/2.8-22, with little shading and almost zero distortion. It does exhibit mild chromatic aberration. If you don’t need anything more than an f/2.8 maximum aperture, this is clearly an excellent buy. READ FULL REVIEW

If you own or have used this lens, let us know what you think! Leave your comments and thoughts below.

Get information and user reviews for this lens from Amazon: Sigma 12-24mm f/4.5-5.6 EX DG IF HSM Aspherical Ultra Wide Angle Zoom Lens for Canon SLR Cameras

Photo Zone

The Sigma AF 12-24mm f/4.5-5.6 EX HSM DG is the most extreme full format ultra-wide zoom lens around and it is still a “mainstream” ultra-wide lens when used on APS-C DSLRs. If you’re looking for a future-proof “duo-format” lens in this class – well, here it is. However, there’re a couple of further good arguments in favor of the lens. In the APS-C scope the resolution is very high and even throughout the tested aperture and focal length range and as such more harmonious compared to dedicated APS-C zooms which tend to suffer from edge problems. Distortions are extremely well controlled for a lens in this class and vignetting is generally not a problem except maybe at 12mm @ f/4.5. The only significant issue are lateral CAs at and below 17mm – you better shoot RAW files and correct the issue in your RAW converter, otherwise CAs are too extreme. The build quality of the Sigma is excellent and the fast and near-silent HSM (ultrasonic) AF drive is a welcome feature. The price tag of the lens is fairly moderate in relation to what you get for your bucks. Highly recommended … if you can get a good sample (the tested sample in Canon mount wasn’t quite as good). “¦ READ FULL REVIEW

Other Sigma 12-24mm f/4.5-5.6 EX HSM DG AF Reviews

Ken Rockwell

Works OK. I didn’t do a thorough evaluation since the ergonomics were so lackluster. I’m not a fan of Sigma. Get the Nikon or Canon for a digital camera. The Nikon 12 – 24 mm is brilliantly sharp and nothing could better it on a digital camera. The Nikon and Canon lenses are smaller, lighter, faster (f/4) and take real filters. The Canon additionally covers a wider angle and wider zoom range. “¦ READ FULL REVIEW

Photo Zone (Canon Mount Tested)

The proved to be a very decent performer for an ultra-wide zoom lens (on APS-C). It has specific strengths (extremely low distortions) and weaknesses (CAs, vignetting at 12mm) but generally the optical quality is very fine with good to very good resolution figures. The build quality is also very impressive. Nonetheless the lens faces a rather stiff competition from and the Tokina AF 12-24mm f/4 AT-X Pro. This gang of three produces relatively similar results so you may spend some agonizing thoughts to choose between them based on your specific preferences. Note: In the meanwhile I’ve tested the Nikon variant of the Sigma and it performed quite a bit better. Seems as if the tested Canon version was not the best sample around. “¦ READ FULL REVIEW

If you own or have used this lens, let us know what you think! Leave your comments and thoughts below.

Get information and user reviews for this lens from Amazon: Sigma MACRO 70mm f/2.8 EX DG Autofocus Lens for Canon EOS

Photo Zone

The Sigma AF 70mm f/2.8 EX DG macro is capable to deliver exceptionally sharp results throughout most of the aperture range. The bokeh (out-of-focus blur) is very smooth and buttery. Typical for macro lenses it also produces a negligible degree of distortions. On an APS-C DSLR vignetting is nothing to worry about. Lateral CAs (color shadows at the image borders) are comparatively high for a fix-focal lens but still fairly low in absolute terms and not really field relevant. The AF performance of the lens isn’t overly impressive – the accuracy is fine but it is both slow and noisy. Other than that the build quality is on a very high level. READ FULL REVIEW

Other Sigma 70mm f/2.8 EX DG Macro AF Review

SLR Gear

By any measure, the Sigma 70mm f/2.8 is a superb macro lens, offering exceptional optical performance and good build quality at an excellent price. It outperforms anything in its price/focal length bracket by anything from a narrow to a wide margin, and represents one of the best bargains in a high-quality, medium focal length macro lens on the market today. Highly recommended! READ FULL REVIEW