Sigma 65mm F/2 DG DN | C

Short telephoto prime lens • Digital era

DG The lens is designed for 35mm full-frame digital cameras but can be also used on APS-C digital cameras.
DN The lens is optimized for cameras with a short flange back distance.
| C Belongs to the Contemporary series lenses.

Features highlight

Fast
2 ASPH
1 SLD
9 blades
CFD 0.55m
IF
STM
WR mount

Specification

Production details
Announced:December 2020
Production status:In production
Production type:Mass production
Original name:SIGMA 65mm 1:2 DG DN C
Optical design
Focal length:65mm
Speed:F/2
Maximum format:35mm full frame
Mount:Leica L
Sony E
Diagonal angle of view:36.8° (35mm full frame)
24.5° (Leica L APS-C)
24.5° (Sony E APS-C)
Lens construction:12 elements - 9 groups
2 ASPH, 1 SLD
Diaphragm mechanism
Number of blades:9
Focusing
Closest focusing distance:0.55m
Maximum magnification ratio:1:6.8 at the closest focusing distance
Focusing method:Internal focusing (IF)
Focusing modes:Autofocus, manual focus
Manual focus control:Focusing ring
Autofocus motor:Stepping motor
Focus mode selector:AF/MF
Manual focus override in autofocus mode:Determined by the camera
Optical Stabilizer (OS)
Built-in OS:-
Physical characteristics
Weight:405g (Sony E)
405g (Leica L)
Maximum diameter x Length:⌀72×76.7mm (Sony E)
⌀72×74.7mm (Leica L)
Weather sealing:Water-resistant mount
Fluorine coating:-
Accessories
Filters:Screw-type 62mm
Lens hood:Bayonet-type LH636-01 (round)

*) Source of data: Manufacturer's technical data.

Manufacturer description

The SIGMA I series introduces compact, beautifully designed, high-performance optics for mirrorless camera systems. In its first collection, SIGMA introduces a high-spec, daily use lens to the Contemporary lens line-up, which combines excellent resolving power with a small body that is perfectly weighted for mirrorless systems.

Long supported among photography lovers and even used for shooting films, a 65mm lens allows a slightly more compressed perspective than standard lenses, opening up a variety of creative approaches for both photography and film-making.

The ultra-sharp 65mm F2 DG DN | Contemporary can capture extremely fine detail even wide open at its maximum aperture of F2, and produces large and round bokeh.

Furthermore, its all-metal body, which is a feature across all I series lenses, and the design with great care paid on the touch and even how delightful the sound made during operation is will make the lens a joy to use and own.

The SIGMA I series features full-frame-compatible lenses that offer mirrorless users a new and better alternative, both in the experience of shooting with the lens and in the impressive results it is able to achieve.

One of the key advantages of mirrorless cameras is their smaller form-factor, and this new 65mm optic is designed to be perfectly matched to these more compact systems without sacrificing performance. This combination of superb optical quality with exceptional portability, not previously possible with DSLR systems, will bring new opportunities to this and future generations of photographers. Simultaneously, SIGMA is aware that, in this day and age when we have such huge diversity when it comes to what we use to photograph, as represented by smartphones, people look for something more than a mere act of "taking pictures" when they choose to own a camera and lenses.

SIGMA's excellence in development and processing technologies has been built up since its founding in 1961, and has become further sophisticated with the introduction of the SIGMA Global Vision in 2012. With this as a base, SIGMA has given careful thought how photographers use and enjoy their lenses, including optical design, advanced functionality, build quality and the experience of picking up and using the lens, and with all of this carefully considered, the I series was born.

The 65mm F2 DG DN | Contemporary brings to the table the highest level of optical performance at a maximum aperture of F2 with a lens body of a size that matches a mirrorless system.

Axial chromatic aberration, which tends to be noticeable with medium and telephoto lenses and cannot be effectively reduced in-camera, is corrected thoroughly with the use of SLD glass, allowing it to capture sharp details. A pair of glass-molded aspherical lenses is used to correct spherical and comatic aberration, as well as astigmatism, while also helping make the lens configuration smaller in size. A combination of the latest optical design with advanced processing technology that brings life to the former gives the 65mm F2 DG DN | Contemporary its excellent optical performance as well as compact size.

In addition to the beautiful bokeh effect thanks to the control of spherical aberration, the reduced vignetting effects help curb lemon-shaped or swirly bokeh and give photographers greater control over the out of focus areas of their images. On top of it all, the SIGMA-standard anti-ghosting and anti-flare technology ensures high-end performance in backlit conditions.

The surface of molds for glass molding, which is a process that forms optical components by pressing glass materials at high temperatures, requires ultra-high precision. SIGMA uses high-precision molds whose surfaces are controlled with an accuracy of ±5 nanometers (0.000005 mm) or smaller. High precision aspherical glass molded lenses archives both good aberration correction and compact lens size.

All I series lenses have an all-metal construction. The precision-cut aluminum parts not only give the barrel a sleek, stylish finish, but provide superb durability, which improves the quality of the entire product. Metal materials are also used in internal structures that slide with the operation ring for added robustness. These high-precision components crafted with SIGMA’s cutting-edge metalworking technology are also used in SIGMA’s cine lens line-up for professional cinematographers and provides an exquisite feel to touch as well as sound effects, making photographers want to reach for it and play with it over and over again.

The cover ring between the focus ring and the aperture ring has hairline processing that is also used for the rear cylinder of the Art line. This covering functions as a finger hold when attaching or detaching the lens.

The 65mm F2 DG DN | Contemporary,the 35mm F2 DG DN | Contemporary and the 24mm F3.5 DG DN | Contemporary of the I series are accompanied by a dedicated magnetic metal lens cap, in addition to a normal plastic cap. This dedicated metal cap clips to the front surface of the lens magnetically. It is no exaggeration to say that this meticulously crafted cap represents the finishing touch for the I series.

When a cap is removed from the lens it should have a proper place where it can be kept. Using this as a starting point, a cap holder using the magnetic force of the dedicated cap was created. With the cap attached to the ring plate, and the plate clipped to a bag or belt, the cap is always within easy reach and is less likely to get lost. Plus, its elegant design is a stylish addition to a photographer’s equipment.

From the editor

The focal length of 65mm is too long to use this lens as a standard, and for a short telephoto lens, on the contrary, it does not have a large enough focal length to provide impressive background blur at medium focusing distances, even despite a fairly good speed. Besides, the Sony E and Leica L systems already have short telephoto lenses with focal length of 85mm and speed of 1.8, which are better suited for shooting portraits with smooth and pleasing background blur and impressive isolation of the subject from the background.

Of course, photographers like variety of focal lengths and speeds. So, in almost any popular photographic system, wide-angle lenses are represented by a dense set of focal lengths of 20, 24, 28, 35 and up to the standard 50mm, while short to medium telephoto range usually consists of focal lengths of 85, 100/105, 135 and 180mm. However, as you can see, there is a fairly large gap between focal lengths of 50 and 85mm, and it's not without reason, since it is difficult for almost any manufacturer to sell lenses in this range. Let's see if Sigma succeeds with the 65/2.

Typical application

portraits, street, travel

Lenses with similar focal length and speed

Best fast short telephoto primes

The higher a lens is on the list, the better it is in its class

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35mm full frame

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

Travellers' choice

Note

Among autofocus lenses designed for 35mm full-frame mirrorless cameras only. Speed of standard and telephoto lenses is taken into account.

One of the best fast short telephoto primes

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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.

Stepping motor

Stepping motor

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.

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 from the lens mount to the film or sensor can also be different.

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.

Flange focal distance

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

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.

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.

Electromagnetic diaphragm control system

Provides highly accurate diaphragm control and stable auto exposure performance during continuous shooting.

Convex protruding front element

The convex front element protrudes from the lens barrel, making it impossible to use filters.

Fixed focus

There is no helicoid in this lens and everything is in focus from the closest focusing distance to infinity.

Overall linear extension

The entire lens optical system moves straight backward and forward when focusing is carried out. This is the simplest type of focusing used mainly in wide-angle and standard prime lenses. It has the advantage of introducing relatively little change in aberrations with respect to change in focusing distance. With telephoto and super telephoto lenses this method becomes less beneficial in terms of operability because of the increased size and weight of the lens system.

Front group linear extension

The rear group remains fixed and only the front group moves straight backward and forward during focusing. This method is primarily used in zoom lenses and allows to design comparatively simple lens construction, but also places restrictions on zoom magnification and size reduction.

Front group rotational extension

The lens barrel section holding the front lens group rotates to move the front group backward and forward during focusing. This method of focusing is also used only in zoom lenses.

Internal focusing (IF)

Focusing is performed by moving one or more lens groups positioned between the front lens group and the diaphragm.

Methods of internal and rear focusing have the following advantages:

Rear focusing (RF)

Focusing is performed by moving one or more lens groups positioned behind the diaphragm.

Methods of internal and rear focusing have the following advantages:

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.