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Sigma 35mm F/1.4 DG HSM | A

Wide-angle prime lens • Digital era

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Sample photos

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Sample photos uploaded by users

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Abbreviations

DG The lens is designed for 35mm digital cameras but can be also used on APS-C digital cameras.
HSM The lens is equipped with Hyper Sonic Motor.
| A Belongs to the Art series lenses.

Features highlight

•
Ultra fast
•
2
ASPH
•
1
FLD
•
4
SLD
•
F.E.
•
HSM
•
MFO
•
9 blades
•
⌀67
filters

Specification

■ Production details
Announced:September 2012
Production status:● In production (Canon EF, Nikon F, Pentax K, Sigma SA)
● Discontinued (Minolta/Sony A)
Original name:SIGMA 35mm 1:1.4 DG A
System:-
■ Optical design
Focal length:35mm
Speed:F/1.4
Maximum format:35mm full frame
Mount and Flange focal distance:Canon EF [44mm]
Minolta/Sony A [44.5mm]
Nikon F [46.5mm]
Pentax K [45.5mm]
Sigma SA [44mm]
Diagonal angle of view:63.4° (35mm full frame)
39.1° (Sigma SD APS-C)
Lens construction:13 elements in 11 groups
2 ASPH, 1 FLD, 4 SLD
Floating element system
■ Diaphragm mechanism
Diaphragm type:Automatic
Aperture control:None; the aperture is controlled from the camera
Number of blades:9 (nine)
■ On Canon EOS APS-C [1.59x] cameras
35mm equivalent focal length:55.7mm (in terms of field of view)
35mm equivalent speed:F/2.2 (in terms of depth of field)
Diagonal angle of view:42.5°
■ On Sony DSLR-A/SLT-A APS-C [1.53x] cameras
35mm equivalent focal length:53.6mm (in terms of field of view)
35mm equivalent speed:F/2.1 (in terms of depth of field)
Diagonal angle of view:44°
■ On Nikon D APS-C [1.53x] cameras
35mm equivalent focal length:53.6mm (in terms of field of view)
35mm equivalent speed:F/2.1 (in terms of depth of field)
Diagonal angle of view:44°
■ On Pentax K APS-C [1.53x] cameras
35mm equivalent focal length:53.6mm (in terms of field of view)
35mm equivalent speed:F/2.1 (in terms of depth of field)
Diagonal angle of view:44°
■ On Sigma SD APS-C [1.74x] cameras
35mm equivalent focal length:60.9mm (in terms of field of view)
35mm equivalent speed:F/2.4 (in terms of depth of field)
Diagonal angle of view:39.1°
■ Focusing
Closest focusing distance:0.3m
Maximum magnification:1:5.2 at the closest focusing distance
Focusing modes:Autofocus, manual focus
Autofocus motor:Hyper Sonic Motor
Manual focus control:Focusing ring
Focus mode selector:AF - MF
Manual focus override in autofocus mode:Yes
■ Optical Stabilizer (OS)
Built-in OS:-
■ Physical characteristics
Weight:665g (Sigma SA)
Maximum diameter x Length:⌀77×94mm (Sigma SA)
Weather sealing:-
Fluorine coating:-
■ Accessories
Filters:Screw-type 67mm
Lens hood:LH730-03 - Bayonet-type petal-shaped
Teleconverters:Not compatible
■ Source of data
Manufacturer's technical data.

Manufacturer description

SIGMA has always leveraged the most advanced optical technologies to offer photographers the highest level of lens performance. Now, SIGMA is proud to offer the first lens in an all-new product line: the 35mm F1.4 DG HSM. This wide-angle F1.4 lens delivers the highest level of brightness and beautiful bokeh effects. It offers the unique characteristics that only a large-aperture F1.4 lens can offer: shallow depth of field along with superior low-light and hand-held performance.

Several types of optical aberration can affect the image quality of a lens. Chromatic aberration is among the most important, and minimizing it is essential. There are two types of chromatic aberration: transverse, which can be corrected for with digital processing; and axial, which is difficult to minimize after a shot is taken. In the 35mm F1.4 DG HSM, FLD (“F” Low Dispersion) glass, which is equivalent to fluorite in its characteristics, and SLD (Special Low Dispersion) glass help optimize the power distribution of the lens. This optimization minimizes axial chromatic aberration by causing the different wavelengths of light to strike the same focus position while also minimizing transverse chromatic aberration. In addition, aspheric lenses help minimize astigmatism and field curvature. Thanks to these features, resolution is extremely high from the center to the edges of the photograph.

Axial chromatic aberration becomes a bigger issue with large-aperture lenses. As compared to conventional 35mm F1.4 lenses, this new lens is designed to produce images with extremely low chromatic aberration. As a result, it is possible to achieve a bokeh effect that is cleaner and more aesthetically pleasing than ever before.

Putting a large-aperture aspheric lens first in the series of lenses makes possible a slim barrel. A single FLD glass lens, which boasts the same performance as a fluorite lens, is combined with four SLD glass lenses to minimize chromatic aberration. And optimized power distribution helps correct various types of optical aberration. These features give this F1.4 large-aperture lens truly optimal image quality.

The aspheric lens at the front of the lens series helps minimize both distortion and vignetting. The rounded diaphragm produces an attractive round bokeh effect at large-aperture settings. Optimized power distribution minimizes sagittal coma flare. Coma of point light sources near the edge of the image and axial chromatic aberration are both minimized, making the lens an excellent choice for photographing nighttime landscapes and heavenly bodies.

When photographing with point light sources such as electric lights or reflections on a body of water in the background, the rounded 9-blade diaphragm helps produce an attractive bokeh effect—even at large-aperture settings.

All lenses in SIGMA's new Art line come with a hood with a high-quality rubberized connector and feature a newly designed lens cap and AF/MF switch, and are designed for intuitive use and superior functionality. Inside, HSM (hypersonic motor) delivers high AF speed and extremely quiet performance. An enhanced algorithm offers even smoother automatic focusing. Full-time manual focus override is another key feature that leaves the artistic touches in the photographer's hands. The brass mount combines high precision with rugged construction. Its treated surfaces and enhanced strength contribute to the exceptional durability of the lens. In both the external and internal parts, the optimized use of TSC(Thermally Stable Composite), an excellent match for metal parts, further contributes to the high-precision construction of the lens.

HSM (hypersonic motor) delivers high AF speed and extremely quiet performance.

This system adjusts the distance between lens groups during focusing, thereby reducing the amount of lens movement required. The result is less aberration at different shooting distances. Benefits are particularly great in macro lenses because they cover a wide range of shooting distances, and in wide-angle lenses, which employ asymmetric configurations of lens elements.

A first for the industry, the barrel of the lens features a new TSC (Thermally Stable Composite) that offers minimal thermal shrinkage combined with exceptional hardness. It also offers 25% greater elasticity than polycarbonate. Since its thermal shrinkage is low, TSC matches well with metal parts, further contributing to the high-precision construction of the lens. TSC also makes possible slimmer forms for parts like zoom rings and scaling rings.

From the editor

Sigma is a comparatively small Japanese manufacturer of camera lenses for popular SLR and mirrorless mounts, with the philosophy “small office, big factory” (in other words: small administration team, big engineering team). All Sigma’s lenses are produced at company’s sole factory in Aizu (Japan) mostly from domestic materials. In 1980s and 90s the company was regarded as a third-party manufacturer of budget lenses which were usually considered as inferior substitutes to the models from the camera manufacturers. However, times change. Due to a weaker yen exchange rate the production costs in Japan are now higher compared to the countries like China, Philippines, Thailand or Vietnam, that’s why Sigma had to focus on the high-end products rather than high-volume products and in terms of quality the company now wants to be seen as a premium brand.

In 2012 Sigma reorganized all its interchangeable lenses into three product lines – “Art”, “Contemporary” and “Sports”. Each line has its own concept. “Art” lenses are developed for creative photography and with priority to performance over size, weight and cost. This category is comprised of large-aperture lenses with popular focal lengths. “Contemporary” line consists of fast compact prime lenses for APS-C mirrorless cameras, and also of zoom lenses and, while not being a line of low-end products, is based on a compromise between size, weight, price and performance. Finally, “Sports” line is currently a set of telephoto lenses with excellent optical performance designed for shooting primarily action sports.

The “Art”, “Contemporary” and “Sports” lines make up Sigma’s concept called Global Vision. All Global Vision lenses are optimized for high-resolution digital SLR cameras. Since June 19, 2018 Sigma also offers several previously released models of "Art" lenses for Sony E-mount digital mirrorless cameras.

The Sigma 35mm F/1.4 DG HSM | A is the first model in the “Art” line. The lens is designed as a high-quality but more affordable alternative to the models from camera manufacturers. The obvious competitor of this lens in the Canon’s lineup is the EF 35mm F/1.4L USM lens (1998).

***

Please note that this lens was also released for mirrorless camera mounts. We decided to record it separately in our database.

Typical application

Class:

Ultra-fast full-frame wide-angle prime lens • Professional model

Professional model

  • Combination of focal length and speed meets professional demands
  • Hyper Sonic Motor

Missing features (2):

Weather sealing • Fluorine coating

Genres or subjects of photography (12):

Landscapes • Cityscapes • Buildings • Interiors • Full to mid-body portraits • Photojournalism • Weddings • Parties • Carnivals • Live concerts • Street • Travel photography

Recommended slowest shutter speed when shooting static subjects handheld:

1/40th of a second

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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm
  • Area: 864mm2

Hyper Sonic Motor

Sorry, no additional information is available.

Hyper Sonic Motor

Sorry, no additional information is available.

Hyper Sonic Motor

Sorry, no additional information is available.

Hyper Sonic Motor

Sorry, no additional information is available.

Hyper Sonic Motor

Sorry, no additional information is available.

AF - MF

AFAutofocus mode.
MFManual focus mode.

Aspherical elements

Aspherical elements (ASPH, XA, XGM) are used in wide-angle lenses for correction of distortion and in large-aperture lenses for correction of spherical aberration, astigmatism and coma, thus ensuring excellent sharpness and contrast even at fully open aperture. The effect of the aspherical element is determined by its position within the optical formula: the more the aspherical element moves away from the aperture stop, the more it influences distortion; close to the aperture stop it can be particularly used to correct spherical aberration. Aspherical element can substitute one or several regular spherical elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.

Use of aspherical elements has its downsides: it leads to non-uniform rendering of out-of-focus highlights. This effect usually appears as "onion-like" texture of concentric rings or "wooly-like" texture and is caused by very slight defects in the surface of aspherical element. It is difficult to predict such effect, but usually it occurs when the highlights are small enough and far enough out of focus.

Low dispersion elements

Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.

Low dispersion elements

Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.

Canon's Super UD, Nikon's Super ED, Pentax' Super ED, Sigma's FLD ("F" Low Dispersion), Sony' Super ED and Tamron's XLD glasses are the highest level low dispersion glasses available with extremely high light transmission. These optical glasses have a performance equal to fluorite glass.

High-refraction low-dispersion elements

High-refraction low-dispersion elements (HLD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

High Index, High Dispersion elements

High Index, High Dispersion elements (HID) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

Anomalous partial dispersion elements

Anomalous partial dispersion elements (AD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

Fluorite elements

Synthetic fluorite elements (FL) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. Compared with optical glass, fluorite lenses have a considerably lower refraction index, low dispersion and extraordinary partial dispersion, and high transmission of infrared and ultraviolet light. They are also significantly lighter than optical glass.

According to Nikon, fluorite easily cracks and is sensitive to temperature changes that can adversely affect focusing by altering the lens' refractive index. To avoid this, Canon, as the manufacturer most widely using fluorite in its telephoto lenses, never uses fluorite in the front and rear lens elements, and the white coating is applied to the lens barrels to reflect light and prevent the lens from overheating.

Short-wavelength refractive elements

High and specialized-dispersion elements (SR) refract light with wavelengths shorter than that of blue to achieve highly precise chromatic aberration compensation. This technology also results in smaller and lighter lenses.

Blue Spectrum Refractive Optics

Organic Blue Spectrum Refractive Optics material (BR Optics) placed between convex and concave elements made from conventional optical glass provides more efficient correction of longitudinal chromatic aberrations in comparison with conventional technology.

Diffraction elements

Diffraction elements (DO, PF) cancel chromatic aberrations at various wavelengths. This technology results in smaller and lighter lenses in comparison with traditional designs with no compromise in image quality.

High refractive index elements

High refractive index elements (HR, HRI, XR etc) minimize field curvature and spherical aberration. High refractive index element can substitute one or several regular elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.

Apodization element

Apodization element (APD) is in fact a radial gradient filter. It practically does not change the characteristics of light beam passing through its central part but absorbs the light at the periphery. It sort of softens the edges of the aperture making the transition from foreground to background zone very smooth and results in very attractive, natural looking and silky smooth bokeh.

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Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Floating element system

Provides correction of aberrations and ensures constantly high image quality at the entire range of focusing distances from infinity down to the closest focusing distance. It is particularly effective for the correction of field curvature that tends to occur with large-aperture, wide-angle lenses when shooting at close ranges.

The basic mechanism of the floating element system is also incorporated into the internal and rear focusing methods.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Fixed diaphragm

The aperture setting is fixed at F/1.4 on this lens, and cannot be adjusted.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Teleconverters

Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.