When Sigma launched their 50mm f1.4, it was heavily praised over the likes of Canon’s offerings. But with the company’s new Global Vision ideology, it was only a matter of time before the company decided to refresh the lens. Indeed, Sigma’s new vision of how a 50mm should be is quite different from how they previously thought.
For CES 2014, Sigma has decided to revamp two of their most popular lenses. It was only apparent that a redesigned 50mm f1.4 was coming, but we didn’t really expect to see a new 18-200mm f3.5-5.6. The 18-200mm is designed for APS-C DSLRs, can focus as closely as 14.7 inches and has Special Low Dispersion elements. Not much information is available at the moment though, but Sigma is also putting the MACRO term in the name of the lens.
As excited about the new 18-200mm as Sigma states they are, the real star of today’s show is the new 50mm f1.4 DG HSM Art. The lens features SLD glass and Sigma is also claiming that wide open performance will be better due to placing the wider elements towards the front. Plus, the lens has a matte finish like its 35mm f1.4 brother (that is essentially my spirit animal.) The lens also sports 13 elements in eight groups. Lastly, it can focus as closely as 15.7 inches, which trumps the previous version’s 18 inches.
No other word is available on pricing or tech specs just yet. We’ve already called in review units–so stay tuned.
Sony’s older 50mm f1.4 lens was really a rebadged Minolta, and the company has been overdue on creating their very own version for the system. Earlier this year, they announced it. And Sony’s new 50mm f1.4 is really as glorious as we thought it would be to start with. The lens has been co-designed with Zeiss and features autofocusing, dust resistance, and a very sleek body.
When Sony’s new Zeiss branded 50mm f1.4 lens was announced, we were excited. The Sony Zeiss glass is often amongst some of the best with micro-contrast built in, sharpness, and most of all–autofocusing built in. Then the company announced the crazy price. We were given a chance to fondle the lens, but not put the pre-production sample that we saw a camera to test the image quality yet. From what we saw so far, we’re not sure that it may be worth the price but it does surely show lots of promise.
Looking to buy any of these? Click the links above to be directed to the respective Amazon.com product page. Hurry up though, because some of these have only a couple units left in stock.
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When my dad gave me his old Pentax ME SLR last year, it came with three lenses: a Cosinon 28mm f2, a Revuenon 50mm f1.4, and a Tokina 135mm f2.8. The body was in pretty bad shape, though. Not only did it have lots of dents and scratches and parts of the leatherette missing, it also had massive light leaks and would scratch the negatives I ran through it. So I decided to buy an adapter to use the K-mount lenses on my Micro Four Thirds camera — one of the best purchases I ever made.