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Sigma 135mm f/1.8 DG HSM Art Lens for Nikon F
|Price:||& FREE Shipping. Details & FREE Returns|
|You Save:||$79.01 (6%)|
|Compatible Mountings||Sony E|
|Lens Description||135 millimetres|
|Max Focal Length||135|
About this item
- Make sure this fits by entering your model number.
- A new large Hyper sonic motor (HSM) delivers ample torque to the focusing Group for outstanding speed, ensuring exceptionally stable performance even at lower speeds
- This state-of-the-art prime lens touts a dust and splash proof mount for guaranteed performance in any condition and its large 1.8 aperture allows for more creative control over imagery. Angle of View (35mm) = 18.2 Degrees
- A stunning compression effect makes the Sigma 135mm F1.8 art the ideal portrait lens while its large aperture help with event photography and much more.
- Like Each and every Global Vision lens, The Sigma 135mm F1.8 DG HSM Art is handcrafted at our single factory in Aizu, Japan and undergoes individual evaluation before leaving sigma’s facility. Minimum Focusing Distance - 87.5cm / 34.4 inch
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From the manufacturer
Introducing the ultimate 135mm telephoto featuring top-level performance
Delivering the ultra-high resolution that brings the best out of 50MP+ ultra-high-megapixel DSLRs
135mm telephoto lenses are often categorized as the foundational telephoto, the first one to add to a lens collection. This focal length delivers a strong perspective compression effect, while the large diameter with F1.8 brightness provides a dramatic bokeh effect. By minimizing axial chromatic aberration, the SIGMA 135mm F1.8 DG HSM | Art makes this bokeh effect not only impressive but also beautiful while delivering superb contrast and sharp image quality in every shot. It offers the outstanding resolution required for 50MP or higher ultra-high-megapixel DSLRs. By incorporating its latest innovations in design and optical glass and rethinking every aspect of the lens, SIGMA has ensured outstanding image quality all the way to the edges, establishing the new standard in 135mm telephoto lenses.
Optical design delivering ultra-high-resolution
Optical design delivering ultra-high-resolution and minimized chromatic aberrations
In addition to an optimized power distribution, this lens features two SLD (Super Low Dispersion) glass elements and two FLD (“F” Low Dispersion) glass elements. These technologies help minimize chromatic aberrations, which tend to appear in the bokeh area outside of focus in portraits, as well as on slender objects such as fine branches. The end result is ultra-high resolution and clarity throughout the image, even at wide-open aperture.
Smooth bokeh and minimised flare.
The 9-blade rounded diaphragm creates an attractive blur in the out-of-focus areas of the image.
From an early stage in the lens design process, flare and ghosting have been measured to establish an optical design resistant to strong incident light sources such as backlighting. SIGMA’s Super Multi-Layer Coating reduces flare and ghosting to help photographers produce sharp and high contrast images even in backlit conditions. The included lens hood can be attached to block out extraneous light, which can have a negative effect on rendering performance.
Outstanding resolving power
Outstanding resolving power and minimized chromatic aberrations help make this the ultimate lens for portraits.
With resolution so crystal-clear that individual hairs can be discerned in a portrait, this large-diameter lens also delivers a beautiful bokeh effect, giving photographers everything they need. It performs better than typical large-diameter standard to medium telephoto lenses in producing close-ups and full-body shots in which the subject stands out against a pleasantly blurred background.
High-precision, rugged brass bayonet mount
The brass mount combines high precision with rugged construction. Its treated surfaces and enhanced strength contribute to the exceptional durability of the lens.
Compatible with full-frame Sony E-mount cameras
The version of this lens compatible with Sony E-mount mirrorless cameras contains the same optical system as for SLRs. SIGMA MOUNT CONVERTER MC-11 is not required, as the lens performs the same functions as the converter, including in-camera image stabilization and in-camera lens aberration correction. In addition, the lens is compatible with Sony’s Continuous AF, which is not addressed by MOUNT CONVERTER MC-11. SIGMA plans to offer over time Sony E-mount versions of every full-frame prime lens currently available in the Art line, from 14mm to 135mm.Note: This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license agreement with Sony
LENS HOOD LH880-03
FRONT CAP LCF Ⅲ 82mm
REAR CAP LCR Ⅱ
*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.
SIGMA WR CERAMIC PROTECTOR 82mm (OPTIONAL)
With many applications in aerospace and other industries, glass ceramic is an extremely tough type of crystallized glass that serves as the foundation for Clear Glass Ceramic. While featuring the high transmittance required of optical devices, this advanced new material combines greater hardness than chemically strengthened glass and greater flexibility than sapphire crystal glass. These qualities make Clear Glass Ceramic the ideal material for protective lens filters.
Ultra-high precision and quality—all made in Japan.
With only a few minor exceptions, all of SIGMA's manufacturing, including molds and parts, takes place under a single integrated production system in Japan. We are now one of the very few manufacturers whose products are truly made in Japan. We like to think our products are somehow imbued with the essence of our homeland, blessed as it is with clean air and water, and focused, hard-working people. We pride ourselves on the authentic quality of SIGMA products, born of a marriage between highly attuned expertise and intelligent, advanced technology. Our sophisticated products have satisfied professionals and lovers of photography all over the world because our manufacturing is based on genuine craftsmanship, underpinned by the passion and pride of our experts.
|Lens construction||13 elements in 10 groups|
|Angle of view (35mm)||18.2°|
|Minimum focusing distance||87.5cm / 34.4in.|
|Number of diaphragm blades||9 (Rounded diaphragm)|
|Maximum magnification ratio||1：5|
|Weight||1,130g / 39.9oz.|
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|Sold By||6ave||PhotoCraft -- District Camera and Imaging||PIXIBYTES||6ave||Amazon.com||Web Offers|
|Compatible Camera Mount||Sony E, Sony E||Nikon FX||Nikon FX||Nikon F||Nikon F||Canon EF|
|Focus Type||Autofocus||Ultrasonic||Ring-type ultrasonic||Auto/Manual||Autofocus||Autofocus|
|Item Dimensions||4.50 x 4.50 x 4.00 inches||2.87 x 3.15 x 3.15 inches||3.70 x 3.03 x 3.03 inches||3.40 x 3.40 x 3.40 inches||3.72 x 3.72 x 4.17 inches||4.50 x 4.50 x 4.00 inches|
|Item Weight||2.00 lbs||0.77 lbs||1.47 lbs||1.70 lbs||2.17 lbs||2.00 lbs|
|Lens Type||Telephoto||Telephoto||Wide Angle||Telephoto||Telephoto||Telephoto|
|Maximum Aperture||f/1.8||1.8||1.4||f/1.4||16 millimeters||f/1.8|
|Maximum Focal Length||135||85 millimeters||35 millimeters||85 millimeters||105 millimeters||135|
|Minimum Focal Length||135||85 millimeters||35 millimeters||33 millimeters||0||135|
|Photo Filter Thread Size||82 millimeters||67 millimeters||67 millimeters||86 millimeters||82 millimeters||82 millimeters|
The Sigma 135mm F1.8 DG HSM Art is a medium range telephoto prime lens designed for modern high megapixel DSLRs.
Top reviews from the United States
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The lens, like the Sigma 35 Art and the Sigma 50 Art lens, is incredibly sharp even wide open at 1.8. IMO the Sigma 135 seems like it is even sharper than the other Sigma Art lenses. And it renders colors better than any lens I've ever used.
I'm not into bokeh that is "bubblely", but more interested in a soft transition to the out of focus background, and this lens proved beautiful for that effect. I'm confident that if I wanted to produce bokeh balls that I could.
The lens barrel has 3 different focus distances from which to use. There is one focus distance that I did not try yet, and that I've seen on the internet, and appears to take excellent flower photos.
The barrel is not as long as my Nikon 70-200 2.8 VR II, but it is fat and not a light-weight at 44 ounces. After a couple of solid hours shooting with it, I was wishing that it had optical stabilization. It's a fantastic addition to my relatively small stable of lenses that I will use frequently, and will definitely find a consistent spot in my camera bag. I currently shoot with a Nikon D810 and D750.
My initial experience was a bummer. The first copy had autofocus problems, which is exactly what I had feared. I was determined to give it a fair shake, though, so I sent it back and requested an exchange and got the Sigma USB dock along with it so I could calibrate it more thoroughly. Around the same time, I ordered a Nikon 105mm f/1.4 with the idea I would test it head-to-head against the Sigma’s replacement when it arrived. Long story short: After several days of testing and hand-wringing and several hundred images shots under varying conditions, I've decided to keep the Nikon even though the second copy of the Sigma was better than the first. It was a tough call, but for me it came down to autofocus capabilities. The Nikon was just more accurate and more consistent, and that's really important to me.
SHARPNESS: Is it sharp? Absolutely. Crazy sharp. It has been hailed as the sharpest lens ever tested by some reviewers, and I would have to agree. It is sharp across the frame at 1.8 and only gets better. Advantage: Sigma.
BOKEH: This, of course, is very subjective. In looking at photos some reviewers posted, I thought the Sigma was slightly more appealing (less fringing and outlining on the “bokeh balls”). In my testing, though, I found little to distinguish the two. Both lenses produce a “creamier,” much more appealing background than my 70-200, which I have always found to be a little “busy” in the bokeh department. Advantage: neither.
BUILD QUALITY: Even though I shoot professionally, I’m pretty easy on my gear, so I don’t obsess over build quality. The Sigma is built like a tank, with lots of metal and a nice quality of rubber on the focus ring. The Nikon has a lot of plastic on the barrel. So what? If Nikon wants to use plastic to save some weight (it’s about five ounces lighter), that’s fine with me. They’re both heavy, but if you’re hand holding for long periods of time, the Sigma might be a bit of a chore to manage. (Both are considerably lighter than the 70-200.) The focus rings on both work very smoothly, but I preferred the slightly heavier touch of the Sigma. Advantage: neither.
AUTOFOCUS: This is where the rubber meets the road as far as I’m concerned. My replacement Sigma was better than the first one, and after fine-tuning with the Sigma USB dock, I thought the AF performance would be acceptable. I was disappointed. My testing consisted of shooting test charts using a tripod and camera timer; still-life arrangements; outdoor portraits both handheld and on tripods; and indoor portraits with studio lighting. I did not test either lens under extreme low-light conditions, like what you might encounter at a wedding or a concert. All shots were taken with my Nikon D750, which is the best-focusing camera I’ve ever owned.
After shooting almost 500 images over the course of several days, I now estimate that the percentage of in-focus shots was between 75-80% for the Sigma and between 85-90% for the Nikon. (Why the estimate? Because I cannot totally account for errors due to my own technique, and I couldn’t tell if some out-of-focus shots were attributable to camera shake or front/back focus.) Is 75-80% good enough for you? Not me. Especially when the Sigma misses focus on a test chart with adequate contrast and detail in a brightly lit room, which it did multiple times, especially when using the outer focus points. I just don’t get that. Neither lens was as reliable as my 70-200, which regularly nails about 95% of shots.
Does all of the above constitute an accurate and scientific test? Heck no. But it’s the best I could do to mimic real-world conditions I shoot under. Much has been written about the difficulty third-party lens manufacturers have in achieving reliable autofocus with Nikon and Canon bodies. They don’t have access to the “secret sauce” that Nikon bakes into their lens-body communication algorithms, so they just do their best to reverse-engineer their products to work with both Canon and Nikon, with occasionally mixed results. The consensus is that both Sigma and Tamron are getting better, but in my opinion they aren’t there yet. These are the third and fourth 3rd-party lenses I have tested in the last two months, and I’ve been less than satisfied with all of them. Your mileage may vary, and you may get lucky enough to get a Sigma (or Tamron) that works great with your particular camera body. If you do, I’m jealous, because the optical qualities of some of these lenses are fantastic. But for me, unreliable AF is a deal breaker. I admit to being a geek and a pixel-peeper, but when you’re shooting portraits for clients who might order a 30x40 wall portrait, accurate and reliable autofocus is necessary to get the kind of critical sharpness that can make or break an image. Advantage: Nikon.
STABILIZATION: Neither lens has it. I wish they did. I use off-camera flash a lot, and prefer to keep my shutter speed close to the sync speed of my D750 (max 1/250). Even at 1/250, it’s hard to hand-hold either lens adequately still, at least for me. The longer length of the Sigma made it marginally worse. For that reason I will be using a monopod for most of my work.
OTHER FACTORS: Chromatic aberration (green/purple fringing) was better controlled on the Sigma, but was not really a problem on the Nikon, especially compared with other fast primes. I don’t pay attention to vignetting, as it’s easily fixable in post processing.
VALUE: This is the most subject area of all. Is either lens worth it? If you’re a rich hobbyist, just get both. If you’re a budget-conscious consumer or even a working professional, it’s a tougher call. I really wish I could have saved $800 and kept the Sigma. But the frustration of dealing with out-of-focus shots would have driven me up the wall. And value is more than just the price differential. If I decide to sell the Nikon in a few years, the superior resale value will have pretty much eclipsed the initial savings on the Sigma. From a strictly business standpoint, it’s hard to justify either one over my 70-200. The difference in sharpness and bokeh isn’t something clients will notice, so the new Nikon won’t make me any more money or let me make shots I couldn’t make before. But sometimes a craftsman just wants to get a nicer tool even though the old one still works fine, just for the enjoyment derived from using that tool. So I guess it’s just an indulgence, my guilty pleasure. We all have those, don’t we?
I will say that the lens takes time to learn. If you have never shot in a telescope prime range then do not assume you will get the photos you are expecting right out of the box. There is a learning curve but once you understand the focal distance of the lens it is well worth every penny. Also remember that this is lens is pretty heavy. Would not consider having this thing dangling around your necking aimlessly.
I know there is a ton of suggestions to buy the dock alongside but I would not suggest it right away. Mine came out of the box with no focus issues and as of today there is no firmware update for the lens. So keep that in mind if you are trying to save yourself 60 bucks.
Top reviews from other countries
- Die AF-Probleme dürften zu 90% Kameraspezifisch sein (daher jetzt 5*)
Stellt man die Linse auf den Mittelsensor, so passt es - vorrausgesetzt das Licht ist auch für den AF-Sensor stark genug, selbst "Lichtfarbe" (Raum Weihnachtsschummrig) kann eine Rolle spielen. Bei Sonnenlicht aber auch bedektem Himmel funktionierte es mit dem Mittelsensor tadellos.
Bei Offenblende gibt es schient bei den D610, D7100 reihe scheint zu viel Abweichung zwischen Mittel und Randsensoren, sodass man für Portrait (Fokus auf Randbereiche) eher den Lifeview verwenden muss.
(Nikon-Version) Ich habe dieses Objektiv für Events und Offenblende-Bereich gekauft um bei schlechten Lichtbedingungen auch noch halbwegs brauchbare Fotos zu bekommen. Für Portraits ist es wegen der langen Brennweite eher sehr eingeschränkt, in Spezialfällen brauchbar (zB nur Kopf, Outdoor).
Bisher nur ein "kurzer" Test an Alltagsobjekten durchgeführt.
+ Die Linse ist extrem Scharf bei Offenblende, selbst bei 21MP einer Crop cam, die ja 1/3 des Objetives weniger verwendet ist die Auflösung besser als die Pixelgröße
+ AF ist extrem schnell
+ Das Paket umfasst klassische SIgma Sonnenblende und Köcher
+ Mit Croppen kann man fast schon Macro-Aufnhamen machen, so scharf ist es.
~ Gewicht: gute Qaulität hat Gewicht, auf Dauer in der Hand getragen ist es schon ein "Sport"-Objektiv. Wer das 150-600(C) nicht laufend tragen kann wird auch hier Probleme bekommen.
- Das AF Problem: Mit dem Liveview sitzt der Fokus scheinbar immer, aber beim Fokus durch den Sucher und Offenblende ist es eher Zufall, unabhängig von der Entfernung. Das selbe habe ich auch beim 50/1.4 ART und mit 2 unterschiedlichen Kameras (D7100, D600) beim 50er auch nach Einstellung mit dem Dock.
- Scharfstellen im MF sehr schwer, da der Fokusring zu wenige Winkelminuten für den Bereich hat.
Fazit nach kurzem Test: Man bekommt für den "hohen" Preis eine lichtstarke Linse mit wahnsinnig tollen Abbildungseigenschaften, muss jedoch das Autofocus-Verhalten in Kauf nehmen.
>> Update 06.10.2018:
Nach weiteren Tests muss ich heute leider einen Stern abziehen, was ich dem AF zuschreibe.
Ich habe das Objektiv mit dem Dock eingestellt, getestet und bei 10m und mehr an Schautafeln einen trotzem Backfocus erkannt, während es in der Nähe passte (2-3m).
Danach nochmal das Dock dazu und mit -7 für unendlich nochmal getestet.
Auf "Tafeln" schien alles OK, bei einem Test mit Person war aber der AF öfters trotzdem noch dahinter oder, nur bei Liveview wars OK.
Je näher das Motiv, desto weniger war die Abweichung und öfters auch mal "Treffer".Bei dieser großen Brennweite wäre es vielleicht sinnvoll den Bereich von 2.5 bis unendlich noch für den AF Setup einzuteilen, denn unter 2,5m Distanz kann man damit fast nichts mehr anfangen.
Auf freiem Gelände ist es oft nicht möglich den Liveview zu verwenden, das mit dem AF muss SIgma mal besser in Griff bekommen, bei Nikonobejktiven liest man eher wenig mit AF Problemen.
Ein Super Teil.
Ja, es ist teuer. Aber ich kann es echt nur empfehlen.