Sigma offers telephoto lenses that have built in macro focusing. And there are five to choose from. Sigma has a 300mm lens that focuses down to one quarter life-size and a 100mm lens which focuses to life-size (1:1). All close focusing is done with no attachments of any kind, and of course meter coupling and automatic diaphragm operation are retained. Sigma wide-angles focus so close that one has to be careful not to cast the lens' shadow on the subject when using the minimum focusing distance. Imagine the perspective. There are also four Sigma zoom lenses to choose from which have macro focusing systems.
Sigma telephoto lenses are also Scalematic. The lenses are equipped with a scale that automatically measures the dimensions of the subject you are photographing as you focus the lens. In action photography you can preset the size of the object to be photographed enabling you to capture the action-filled moment while other photographers fumble with their focusing rings.
All Sigma lenses stop down to F22. Not only are Sigma lenses a stop faster than most equivalent focal lengths of other makes, but they also stop down a full stop more than the majority of available lenses. The added F-stop helps you in three ways. Firstly, by stopping down to F22 you can obtain greater depth of field. Secondly, the additional F-stop will give you greater control in bright light situations such as beach or snow scenes, and it will prove valuable when using fast film such as Tri-X. Lastly, the smaller F-stop will allow you to use a slower shutter speed to capture special effects such as the movement of a milling crowd, or the streaking headlights of automobiles at dusk.
Both the Sigma 16mm Fish-eye and 24mm ultrawide-angle lenses have yellow, orange, blue, and skylight filters built-in. The 24mm is the world's first (non-fish-eye) wide-angle lens with built-in filters.
Modern space technology has lead to the development of multi-coating techniques to cut down drastically on the percentage of reflection normally encounted on optical surfaces.
The word "MULTI-COATED" engraved on the front of the lens barrel is your guarantee of receiving Sigma multi-coated lenses.
Normally the volume of light passing through a glass and air area is reduced by 4% because of reflection. Modern conventionally coated lenses can reduce the reflection ratio by as much as 70% so that only 1.5% of the light transmission is lost for each lens surface exposed to air. However, since modern optics employ many elements in each lens, the 1.5% transmission loss is of considerable importance. Sigma's modern multi-coating techniques shrink actual light transmission loss to a mere 0.2% thereby producing crisp, ghost-free pictures even under the most adverse conditions.
In addition to accepting 62mm screw-in filters, the 35mm F/2.8, 135mm F/2.8, and 200mm F/4 accept 52mm screw-in filters. The 55mm F/2.8 accepts both 62mm and 55mm filters and the 100mm F/2.8 accepts 62mm and 40.5mm filters. Furthermore, not only does the 24mm F/2.8 lens have four built-in filters, but it will also accept 62mm screw-in filters. In addition to 77mm filters, the 500mm F8 Mirror Tele will accept 33.5mm filters.
Sigma offers lenses unavailable from other makers. For professional or highly demanding photographers that require specialized lenses, Sigma manufactures a 16mm F/2.8 fish-eye, 18mm F/3.2 ultrawide-angle, 35mm F/2.8 guide number lens, 55mm F/2.8 macro lens, and 500mm F/4 mirror lens.
Sigma produces fast general purpose lenses such as the 24, 28, and 135mm F/2.8 lenses. For photo specialists, Sigma offers the ultra-fast, 135mm F/1.8, 200mm F/2.8, 300mm F/4 and 500mm F/4 lenses.
Although Sigma has distinguished itself as an innovative lens maker producing lenses embellished with a host of features, Sigma's primary concern is with quality. Thus, excellent optical performance, rugged design, and smoothly operating controls are characteristics of Sigma quality.
Sigma is the world's only independent lens maker with a complete line of lenses from fish-eye to ultratele. The number of patents currently held by Sigma is ample evidence of Sigma's superior research and development. Sigma has long abandoned the old technique of trying to produce sharp lenses only by employing lens resolution tests. By applying the very latest technology we are able to produce optically impeccable lenses. Sigma utilizes the modulation transfer function (also called optical transfer function) method which allows us to produce lenses which faithfully reproduce the subject; making a musical analogy, Sigma lenses are Hi Fidelity lenses. They are extremely sharp and distortion free, capable of living up to the most exacting demands of professional photographers and discriminating amateurs. Because Sigma lenses use new types of special glass material, small bubbles may sometimes be seen inside lens elements. However these small bubbles, have absolutely no adverse effect on the optical performance of the lens.
After a Sigma System Focusing lens is focused to its closest focusing point, take your hand off the focusing ring and place it on the front edge of the lens barrel, and you will find that you can turn it in the same manner as the focusing ring, enabling you to extend the focusing range into the realm of macro photography. We call this unique patented focusing system, Sigma SYSTEM FOCUSING. Refocusing the main focusing ring to infinity will automatically return the system focusing ring to its recessed position.
Five Sigma telephoto lenses employ this patented system, making them the most versatile tele-photos in the world. The 135mm F/2.8, 200mm F/2.8, and 200mm F/4 focus down to 1/3 life-size, and the 300mm F/4 focuses down to 1/4 life-size, of course, diaphragm automation and meter coupling are fully retained. Optical performance remains excellent down to 1/3 life-size, and because the front lens component is moved instead of adding an extension to the rear of the lens, there is no effective loss of the F number; exposure remains constant from infinity to 1/3 life-size.
The 100mm F/2.8 MICRO-MACRO lens is the only lens in the Sigma telephoto group that will focus all the way down to 1:1 (life-size) via SYSTEM FOCUSING. Although optical quality remains excellent up to 1/3 life-size, the image deteriorates as you go beyond that point. For high quality life-size reproductions use the MICRO-MACRO lens mounted on extension tubes and focus with the main focusing ring instead of using the SYSTEM FOCUSING. However there may be times when you are without your extension tube or there is not sufficient time to attach one to the camera before the subject vanishes from view, on such an occasion you will be glad that your lens can immediately be used for extreme close-up photography without attachments of any kind.
All lenses with System Focusing have color coded diaphragm rings. The 100mm F/2.8 diaphragm ring has the F-stop numbers painted in white, green, blue, and orange to indicate the desirable F-stops to be used for optimum results when using System Focusing. Thus, if the System Focusing ring is set to 1/4 life-size it will be found that the 1/4 life-size mark engraved on the System Focusing ring is painted in green, indicating that for optimum results, to counter the shallow depth of field met with when working so close to the subject, the diaphragm should be stopped down to at least F/5.6 (painted in green). Similarly, when working at 1/3 life-size, the lens should be stopped down to at least F/8 or F/11. At 1/2 life-size stopping the lens down to F/16 or F/22 is desirable. When using System Focusing there may be a small focus shift; consequently, to ensure accurate focus it is advisable to focus the lens after first stopping it down.
For optimum results when using the 135mm F/2.8, 200mm F/4, 200mm F/2.8, and 300mm F/4 lenses in the macro mode, use those F stops color-coded in green.
Because of the difficulty of focusing moving subjects with a telephoto lens, Sigma has developed the Scalematic System which enables the photographer to prefocus his lens so that all he has to do is aim at the approaching subject, wait until it is almost in focus, and then shoot.
1. Estimate approximate size of the subject approaching the camera. If it is two meters, for example, align the 2m mark on the scale with the red dot in the center of the lens barrel.
2. When using the vertical dimensions of your camera's view finder align subject size on the vertical scale; when using the horizontal dimensions of your view finder, align subject size on the horizontal scale.
3. Of course, if you do not wish to fill the frame with the subject but desire to leave some room above and beneath it, align subject size plus added space on the appropriate scale.
4. Aim at subject approaching camera and just before it comes into perfect focus, shoot. The reason for shooting before the subject is in perfect focus is that it requires time to release the shutter. Therefore with good timing, the subject will be at the peak of focus just at the moment the shutter is released.
Look through the view finder and focus subject so that it completely fills the frame, then merely read the dimension of the correct scale.
The Sigma 16mm F/2.8 Fish-eye lens, as well as the 24mm F/2.8 have four built-in filters: orange, yellow, blue color conversion and skylight (O-56, Y-48, LB-180, L-1A). Not only can you use the yellow and orange fillers for greater contrast in black and white photography, but you can use them creatively in color work as well. You can add warmth to a gloomy day, liven up a sunset, or add sparkle to a wheat field. The possibilities are limited only by your imagination. Similarly, besides using the blue filter for shooting daylight color film in tungsten light, you can also use it creatively with color film to change dusk into evening, for example. Or to emphasize the color of the ocean or sky. As well as emphasizing the mist with black and white film. These four filters are specially designed so that their densities are weak enough to permit their use with color film, and yet strong enough to use with black and white film as well.
A) THE 35mm LENS
If you were to go on a photographic assignment and were allowed to take only one camera and and one lens, what lens would you choose? The choice of most professionals would be the 35mm lens, for experience has proved it to be the most versatile.
When photographing someone it is important to include part of the surroundings to help express the individual's personality. The 62° coverage of a 35mm lens makes this task an easy one. Furthermore, the 35mm wide-angle lens allows the photographer to get close enough to the subject to prevent the intrusion of passer-bys, automobiles, telephone poles, and the like. Additionally, when photographing indoors only a wide-angle lens can cover an ample amount of the interior. Since a good part of our lives is spent at home and in the office it is only natural to want to take photographs indoors. And since indoor photography is usually synonymous with flash photography, Sigma has produced the first wide-angle G.N. (guide number) lens. It enables you to automatically obtain the correct flash exposure everytime, regardless of the type of flash you use: F.P. bulbs, M bulbs, flash cubes, or any type of flash unit. All you do is set the flash guide number on the lens and the correct F stop is automatically chosen as you focus the lens.
B) THE 28mm LENS
Well suited for the photographer who does a great deal of interior work where the extra coverage (74°) is helpful. It is also useful for those interested in architecture as buildings can be easily photographed with this wider optic. The 28mm focal length besides being a favorite with those who must constantly work in cramped quarters, has also grown very popular among many photo enthusiasts because it is the bridge that spans the world of wide-angle (35mm) and ultrawide-angle (24mm or less) lenses. That is, like the 35mm lens the 28mm focal length is extremely versatile, and like the ultrawide-angle lenses it allows the photographer to exaggerate perspective thereby creating startling effects.
Part of the joy that accompanies the art of photography stems from transforming the world of reality into a make-believe world of fantasy. When we record the world accurately we are similar to scientists documenting facts, but when we transform the familiar into the unfamiliar, the real into the unreal, we are participating in the act of creation.
The Sigma ultrawide-angle lenses will help expand the creative tools of the photographer. The Fish-eye will bend straight lines, the 18mm with its 100° field of view and close focusing capabilities offers fantastic perspective, and the 24mm not only covers a full 84°, but its four built in filters assist in creative color and black and white photography.
A) The FISH-EYE is designed for those requiring maximum coverage; it offers a 180° field of view diagonally, a field of view so large that the photographer must excercise care lest he include his elbow or leg in the picture.
You have to look through the camera finder before you realize what exciting perspective a fish-eye lens is capable of creating. Tilt the lens upward and the horizon curves making you feel like an astronaut viewing the earth from a spaceship. Stand in the corner of a room and the lens will encompass not only the entire interior, but the four walls, ceiling and floor.
For additional versatility the Fish-Eye has four built-in filters, close focusing capability, and a circle image adapter which allows the photographer to take a circular photograph with a field of view of 100° in all directions.
B) THE 18mm LENS. The sweeping 100° field of view that the Sigma 18mm lens offers, easily engulfs skyscrapers, encompasses mountains, or swallows up interiors. As this is a true wide angle lens and not a fish-eye lens, straight lines will appear straight even at the edges when the camera is held perpendicular to the subject and the ground. Besides being an ideal tool for capturing panoramic scenes, it is also a favorite among creative photographers as it offers breathless perspective and unlimited depth of field.
C) THE 24mm LENS. The 24mm is another ultra wide-angle lens having a field of view of 84°. In comparison to the 18mm lens it is 1/4 stop faster (F2.8 vs F3.2), has four built in filters, and accepts 62mm screw in filters as well.
A) 100mm F2.8. The ability of the 100mm F2.8 to focus down to 1:1 without attachments of any kind makes it a popular lens for those interested in close-up photography. Its focal length is also ideal for portraiture.
B) 135mm F2.8. Strong points are its compactness, light weight, close focusing ability (focuses to 1/3 life-size), its 2.7 magnification (compared to a 50mm standard lens) making it useful for sports. Additionally this lens, as all the Sigma telephotos, employs the Scalematic System to simplify prefocusing, a valuable tool for sport and action photographers. Also in its favor is its ability to accept two different filter sizes (62mm and 52mm).
C) 200mm F4. In addition to bearing all the advantages of the 135mm F2.8, this lens offers greater magnification (4x). The "compression effect" is stronger than that found in the 135mm, making the 200mm useful for creative effects.
D) 135mm F1.8. Despite its wide aperture, this is a very compact lens. Its 2.7 magnification and the bright image created by the F1.8 maximum aperture as well as shallow depth of field make focusing this lens child's play. When this lens is used wide open, highly dramatic effects can be created, as the background can be made to "melt" away.
E) 200mm F2.8. Shares advantages of the 135mm F1.8 lens in that focusing is extremely easy, the background can be made to "melt" away, and its wide aperture makes it suitable for available light photography. Additional attractive features are its greater magnification (4x) and its ability to focus down to 1/3 life-size.
A) 300mm F4. Considering this lens' focal length and its 6x magnification, the Sigma 300mm F4 is extremely compact and lightweight. For maximum versatility the 300mm lens is Scalematic and close focusing (1/4 life-size). Additional plus factors are its large maximum aperture for focusing ease, available light photography, and "melting" away the background, the "compression effect" is pronounced rendering highly interesting and dramatic effects.
B) 500mm F8. An ultratelephoto for sport enthusiasts, wild animal lovers, and creative photographers. Since this is a mirror lens, it is both compact and lightweight. Creative effects are easily produced by exploiting the powerful "compression effect" and doughnut-shaped out of focus highlights which are typical of mirror lenses. The relatively shallow depth of field and 10x magnification also assist in creasing pictures loaded with impact.
C) 500mm F4 The fastest lens of this focal length, designed for specialists. For additional versatility the Sigma 500mm F4 can be converted to a 500mm F5.6.
As this is a true macro lens and not merely a lens having close-up focusing capabilities, it produces scalpel sharp close-ups. For ease of handling, it goes down to 1/2 life-size without attachments of any kind. The Sigma 55mm macro lens is a fast F2.8 optic with a luxury seven element design enabling it to match or surpass other lenses of similar focal length whether focused at infinity or 1/2 life-size; thus, it makes an ideal "standard" lens.
All-purpose lenses of optimum versatility. As zoom lenses, they permit one to rapidly crop right in the camera as well as the option of changing perspective in order to create the perfect picture. No need to waste time changing lenses.
| Lens construction (Elements - Groups) |
4 - 4 |
| Diaphragm | YS auto |
| Reproduction ratio | 1:1/2 |
| Dimensions (Length - Diameter) |
32mm x 60mm |
| Weight | 130g |
Sigma makes a variety of general purpose rear lens converters of high quality which allow you to receive optimum quality from your Sigma lens-plus-converter combination. While Sigma acknowledges that there are also excellent converters of other makes, it wishes to suggest, why take chances? Converters are not that expensive to begin with, so it is best to play safe and select a Sigma quality converter for your lenses.
Because of its patented design the Sigma 2X rear lens converter, Telemac, is instantly convertible, changing from a rear lens converter to an extension tube. In both applications automatic diaphragm operation and meter coupling are fully retained. You will find the 2X Telemac to be the ideal companion for your Sigma MACRO lens. Unscrewing the lens group will enable you to remove the lens group from your 2X Telemac, transforming it to an automatic extension tube with meter coupling. When the lens group is removed please place the lens caps provided on both ends of the group to protect it from dust and fingerprints.
For best results when using your Telemac as a 2X converter, use it in combination with a high quality lens, such as a Sigma MACRO or Telephoto lens. For maximum definition, stop the lens down to F8 or more, and for handheld shooting, be sure to use a shutter speed which most closely matches the combined focal length. For example, a 135mm + 2X Telemac combination equals 270mm, therefore use a shutter speed of at least 1/250 second. For slower shutter speeds, mount the camera on a sturdy tripod.
If your camera's micro-prism blackens out, focus on the mat section of your ground glass. At times mirror cut off is visible, that is in cameras with a short mirror the upper portion of the ground glass will grow dark; however as this does not affect the picture being taken in any way, there is no need for concern.
When using the Telemac as an automatic extension tube it will necessary to increase the exposure. Of course, for cameras with built meters no exposure computation is required. However when using a hand meter please use the following formula.
EF = IF x ((F + EX) / F)
EF: The effective F number
IF: Indicated F number
EX: The extension of the tube which is 25
F: Focal length of lens
Example: If you have your 50mm lens mounted on the extension tube and set the lens diaphragm to F8, what is the effective F stop, or its true value?
EF = 8 x ((50 + 25) / 50) = 12
That is, the effective F stop is approximately F11, so use a shutter speed one stop slower than that indicated by the hand meter.
| Lens construction (Elements - Groups) |
5 - 5 |
| Diaphragm | |
| Reproduction ratio | 1.2:1 |
| Dimensions (Length - Diameter) |
65mm x 58mm |
| Weight | 240g |
The TELEMAC VARIO is another Sigma quality product and is available only in the Pentax/Praktica mount. This unique accessory can be combined with a lens and camera to provide nine different combinations for MACRO and TELE-PHOTOGRAPHY.
As a rear lens converter it provides 2X, 2.5X, and 3X magnification. The TELEMAC VARIO also transforms into extension tubes providing both mechanical and optical types of close-up capabilities. Of course automatic diaphragm operation is retained.
To ensure optimum quality when using your TELEMAC VARIO as a lens converter use a sufficiently high shutter speed to eliminate the problem of camera shake. When you must use a slow shutter speed, attach the camera to a sturdy tripod.
Attach your TELEMAC VARIO only to high quality optics, such as your Sigma lenses, as a converter will magnify any defects in the master lens. Best results are obtainable after stopping the lens down to F8 or further.
The YS Auto Mount System is an interchangeable automatic lens mount system patented by Sigma. It has in fifteen years proven to be the most reliable interchangeable mount system available today. Besides its sturdy construction it is of the screw-on type and consequently can never grow wobbly. Another unique feature is that it is compatible with the T-mount system; thus, any Sigma YS Mount can be placed on a T-mount lens, or any T-Mount can be placed on a Sigma lens.
There are presently approximately 700 lenses available throughout the world that come in the YS Auto Mount system. Of course, YS Auto Mounts provide not only full diaphragm automation, but complete meter coupling regardless of whether it is of the stop-down, full-aperture, or EE type.
Source: "SIGMA XQ LENSES" brochure (year unknown).
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