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The lens can focus to just under 10 inches (25 centimeters), which provides a maximum magnification ratio of 1:9.9. This is clearly not a lens well-suited for macro photography. However, this close focus distance is sufficient if you want to utilize close foreground elements in landscape images or capture close-up portraits. Apochromatic lenses have special lens elements (aspheric, extra-low dispersion etc) to minimize the problem, hence they usually cost more. The Sigma 16mm F1.4 DC DN C lens has a very wide focus ring. There are no hard stops at both ends of the range, making it more difficult to set focus at infinity. Polariser users should be pleased that the 67mm filter thread doesn't rotate on focus. You don't get in-lens stabilization with the 16mm, but wide aperture primes typically omit the feature. It's bright and wide enough that you'll be able to shoot handheld and get crisp images without stabilization. But if you shoot a lot of handheld video, it's best to pair it with a body with sensor-based stabilization. The Sigma 16mm f/1.4 lens is one of three new EF-M prime lenses now being offered by Sigma (including a 30mm lens I reviewed here). For Canon users looking for EF-M lens options, the Sigma lenses couldn’t come at a better time, because Canon—for whatever reason—has never expanded their EF-M lens lineup with anywhere near the breadth of their full-frame EF lens options.
Sigma 16mm f/1.4 DC DN Contemporary Lens Through Putting the Sigma 16mm f/1.4 DC DN Contemporary Lens Through
Since 1982, PCMag has tested and rated thousands of products to help you make better buying decisions. See how we test. Chromatic aberrations, typically seen as purple or blue fringes along contrasty edges, can be detected in quite a lot of our sample shots - this is definitely one of the Sigma 16mm F1.4 DC DN C's weaker points in terms of image quality. In summary, an excellent overall performance and a very fine lens, living up to its claim to be almost on a par with the Sigma Art range. The Sigma 16mm F1.4 DC DN C ships with a good quality plastic circular-shaped lens hood. It accepts 67mm filters.Optical construction is 16 elements in 13 groups, and interestingly the instruction leaflet makes a point of informing that all the glass used is both Lead and Arsenic free. This is relevant to environmental issues if and when the lens is finally disposed of. There are various special lens elements, including 2 moulded glass aspheric, 2 SLD (Super Low Dispersion) and 3 FLD (Fluorite-like Low Dispersion). The FLD glass performs in a way very similar to a fluorite element, helping to reduce chromatic aberration even further. Fluorite elements are both expensive and quite brittle, so the FLD glass can be used with a very similar end result. There are 9 rounded diaphragm blades, aimed at making the aperture as circular as possible for improved bokeh. The Sigma 16mm, 30mm and 56mm F1.4 DC DN C for Canon EF-M lenses are exactly the same in terms of their design, construction and features as the versions for Sony E-mount and Micro Four Thirds, just with a change of mount.
Sigma 16mm f/1.4 DC DN Contemporary Review | ePHOTOzine Sigma 16mm f/1.4 DC DN Contemporary Review | ePHOTOzine
Like the 30mm, it has a close minimum focusing distance. With that wide f/1.4 aperture, it is possible to get an excellent shallow depth of field. I should note here that the lens is easy to add filters to at a very common 67mm size, which certainly adds to the value as a landscape lens. I like to add ND filters for allowing for longer shutter speeds, and in some situations a circular polarizer can reduce reflections, add contrast, and deepen color saturation. The focal length is not so wide that you should get too many weird “polarizing” effects in blue skies. All of the focus takes place internally, and nothing rotates at the front, which makes using a polarizer more simple. Flare Resistance, Chromatic Aberrations, Bokeh, and Distortion Naturally, there’s not a whole of point in having a fast f/1.4 lens if image quality doesn’t hold up when shooting wide-open. As it turns out, sharpness and contrast are maintained very well at the widest aperture. Another bonus is that the wide aperture and short 25cm minimum focus distance enable a fairly tight depth of field and good bokeh, enabling interesting perspective effects. SIGMAFUJIFILM X Mount lenses. SIGMA introduces interchangeable lenses for FUJIFILM X Mount mirrorless cameras. This addition allows users t…I did notice some purple fringing in certain high contrast scenes at wide apertures. The nature of this is covered in the resolution section above. It is essentially only an issue at f/1.4. As previously noted, the physical design of the 16mm DN is instantly familiar to those who have used either the 30mm f/1.4 DN Contemporary or a lens like the 35mm f/1.4 or 50mm f/1.4 ART lenses. If you were familiar with the 30mm DN lens, it will seem a little large; if you were familiar with the 35/50mm lenses, it will seem quite small. This is, by a good margin, the largest lens in the DN series, but it is still a relatively compact lens by normal standards. To be fair, however, this is also the most extreme lens in the series, as all previous lenses have been very “safe” focal ranges (from 28mm – 90mm full frame equivalent). The 30mm lens has a full frame equivalent focal range (on a Sony 1.5x crop factor) of 45mm, and has a relatively simple optical formula of 9 elements in 7 groups. The 16mm lens corresponds to a classic wide angle of 24mm, and with an extremely large maximum aperture to boot. That added engineering challenge is shown in the complexity of the optical formula, which is 16 elements in 13 groups (almost twice as complex)! Like the 30mm F1.4 DC DN | Contemporary, the 16mm F1.4 DC DN | Contemporary features SIGMA's latest design technologies to offer F1.4 brightness while minimizing optical aberrations. Of course, a fast, wide angle lens makes one think about using it for low-light photography. It will be great for star trails where absolute sharpness is unnecessary. Gladly, the Starry Sky AI-focusing function of the OM-1 works with this lens.
Sigma 16mm, 30mm and 56mm F1.4 DC DN C for Canon Review Sigma 16mm, 30mm and 56mm F1.4 DC DN C for Canon Review
These lenses provide an angle-of-view equivalent to a 24mm, 45mm and 84mm lens in a 35mm system. Each one offers a very bright f/1.4 maximum aperture and an iris diaphragm with nine rounded blades for excellent low-light and shallow depth-of-field shooting.
The lens has the now standard nine rounded aperture blades that I’ve seen on most all the Sigma lenses I’ve reviewed in the last 4-5 years. I’ll comment more on the bokeh quality in a moment, but Sigma does a good job of maintaining a circular shape even with the aperture closed down a number of stops. The lens hood cuts harmful rays that can negatively affect photographs while also minimizing reflectivity within the hood itself. The hood also features a rubber construction and a non-slip groove to make it easy to hold in a variety of shooting situations. Otherwise, using the lens with a Nikon camera is pretty much identical in experience to using it with one of the other mounts. Focusing is fast, accurate and quiet, making it well-suited to a range of different subjects. We have previously reviewed both the 30mm F1.4 DC DN and the 56mm F1.4 DC DN. However, whilst I have personally used the 16mm F1.4 DC DN in Sony mount, we have yet to review it thoroughly. So when the Fujifilm version arrived, what better time to review it and briefly summarise the other two lenses in their Fujifilm incarnations. Sigma 16mm F1.4 DC DN C Features SIGMANikon Z mount lenses. SIGMA Corporation is pleased to announce the upcoming launch of interchangeable lenses for Nikon Z mount system.…
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