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Sigma DP2 14MP FOVEON CMOS Sensor Digital Camera with 2.5 Inch TFT LCD
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- SLR-sized, 14-megapixel Foveon X3 direct image CMOS sensor
- 24.2mm f2.8 standard-range lens (35mm equivalent focal length: 41mm)
- 2.5-inch TFT LCD screen
- Capture images to SD Card/SDHC/Multi Media Card (not included)
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|Auto Focus Technology|
|Continuous Shooting Speed||3 fps|
|Display Fixture Type||Fixed|
|Display Resolution Maximum||230,000|
|Display Size||2.5 inches|
|Effective Still Resolution||14.06 MP|
|Expanded ISO Maximum||3,200|
|External Memory Included||Yes|
|Flash Memory Type||SD/SDHC/MMC card|
|Flash Type||Built In Flash|
|Flash Type||Built-in Flash, Hot-shoe|
|Focus Description||Contrast Dectection AF|
|Focus Type||Autofocus & Manual|
|Form Factor||Large sensor compact|
|ISO Range||50.100, 200, 400, 800 (1600 and 3200 in RAW)|
|Image Aspect Ratio||3:2, 16:9|
|Item Dimensions||2.36 x 2.2 x 4.45 inches|
|Item Weight||0.62 pounds|
|Lithium Battery Energy Content||4.81 Watt Hours|
|Lithium Battery Voltage||1 Volt|
|Lithium Battery Weight||29 ounces|
|Maximum Aperture||2.8 mm|
|Maximum Focal Length||41 mm|
|Maximum Shutter Speed||1/2000 of a second|
|Maximum horizontal resolution||320 Pixels|
|Maximum horizontal resolution||2,640|
|Metering||Multi, Center-weighted, Spot|
|Minimum Focal Length||41 mm|
|Minimum Shutter Speed||15 seconds|
|Optical Sensor Resolution||14 MP|
|Optical Sensor Technology||CMOS|
|Photo Sensor Technology||CMOS (Foveon X3)|
|Remote Control Description||Optional wired|
|Sensor Cleaning Method||No|
|Shipping Weight||1.9 pounds|
|Supported Battery Types||BP-31|
|Video Capture Format||Motion JPEG|
|Video Capture Resolution||320 x 240 (30 fps)|
|Water Resistance Level||Not Water Resistant|
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|Shipping||—||FREE Shipping||FREE Shipping||FREE Shipping||FREE Shipping||FREE Shipping|
|Sold By||Available from these sellers||Amazon.com||Amazon.com||Amazon.com||Amazon.com||BigBoxSuperstore|
|Screen Size||2.5 in||3 in||3 in||3 in||3 in||3 in|
|Item Dimensions||2.2 x 4.45 x 2.36 in||6.34 x 3.23 x 2.64 in||2.5 x 1.4 x 4.6 in||4.43 x 1.75 x 2.54 in||32.1 x 26.4 x 63.3 in||1.38 x 4.61 x 2.4 in|
|Item Weight||0.62 lb||1.2 lbs||0.6 lb||0.75 lb||3 lbs||0.54 lb|
|Optical Sensor Resolution||14 megapixels||20 megapixels||—||—||—||16.2 megapixels|
|Video Capture Resolution||320 x 240 (30 fps)||—||1080p||1080p||—||1920 x 1080 (30, 25, 24 fps), 1280 x 720 ( 60, 50, 30, 25, 24 fps), 640 x 480 (30, 25, 24 fps)|
|Viewfinder||None||optical viewfinder||fixed LCD||lcd||fixed LCD||Optical (optional)|
The Sigma Corporation is pleased to announce the new Sigma DP2 compact digital camera featuring a 14 Mega Pixel FOVEON X3 direct image sensor (2,652 x 1,768 x 3 layers) as used in the Sigma SD14 digital SLR. The DP2 has arrived and is equipped with a 24.2mm F2.8 lens, equivalent to 41mm on a 35mm SLR camera, increasing creative possibilities, providing superior image quality and improving handling and performance. Pop-Up (Manual) Built-in Flash 9 Point Focusing Area and Manual Focus Movie Mode QVGA (320x240) and 7 Color Modes Large 2.5 TFT Color LCD Monitor Hot Shoe - The DP2 camera is equipped with a hot shoe, allowing use of the dedicated external flashgun Storage Media - SD Card/Compatible w/SDHC, Multi Media Card Exclusive Sigma Photo Pro Software (Supplied with the DP2) - The DP2 comes complete with SIGMA Photo Pro software, a RAW image developer that converts all RAW data quickly and easily Interfaces - USB (USB2.0), Video Out (NTSC/PAL), Audio Out (Monaural) Power - Dedicated Li-ion Battery BP-31, Battery Charger BC-31, AC Adapter (Optional) Dimensions - 4.5in. (113.3mm) (W) x 2.3in.( 59.5mm) (H) x 2.2in. (56.06mm) (D) Weight - 9.2oz. (260g)
From the Manufacturer
From the Manufacturer
Implementing a large sensor presented all sorts of problems: the cost of the sensor, the difficulty of designing the lens, the high processing capacity required for the image-processing engine, enlarging the circuit board, increasing the memory capacity, and so on. Until these problems could be overcome, it was generally accepted that DSLRs used large sensors, and compacts used small ones. Eventually, these problems were effectively solved, allowing sensors to be made smaller. However, this involved a trade-off: reduced image quality.
The DP Series: A New Lineage
The DP2's integral standard lens is brand-new and purpose-designed, with a focal length equivalent to 41mm in a 35mm camera. We wanted to allow photographic effects beyond the scope of the focal length of the wide-angle lens of the DP1, which is equivalent to 28mm in a 35mm camera. So we gave the DP2 a standard-range focal length more suitable for snapshots and portraits.
The Camera That Turns Ordinary into Awesome
The DP1's wide-angle lens is good with perspective, geared towards dynamic shots of scenery, buildings, celebrations. The standard lens built into the DP2, on the other hand, has a narrower field angle, giving a stronger effect, making the subject stand out. In other words, we've given it the ability to create the photo that you, and only you, can see in your mind's eye. Naturally, this is great for portraits. And for capturing the elusive beauty of ordinary, everyday subjects, this standard lens is ideal.
Its focal length is longer than the DP1's lens. So, at low F-numbers (larger apertures), you can create amazing pictures by deliberately blurring the background. This makes the subject stand out sharply, in a compelling, almost mystical way. In this sense, you could say the DP2 turns ordinary into awesome.
Sigma DP2 Highlights & Features
Full Scale Sensor
Startlingly evocative image quality
At 20.7 x 13.8mm, the DP2's 14-megapixel image sensor is SLR-sized. This is about 12 times larger than the 1- to 2.5-inch sensor, and 7 times larger than a 1- to 1.8-inch sensor used in a conventional digital compact. This generous size takes the DP2's image quality to a different dimension.
Picture this. Light traveling through a small lens is captured by a small sensor and turned into an image. Light travelling through a large lens is captured by a large sensor and turned into an image. What’s the difference between these two images? Essentially, it's a difference in quality. In the case of the small image sensor, the image is magnified by a high ratio when it's printed or displayed on a computer screen. This makes it tricky to reproduce the dynamism and 3-D feel of the subject. The DP2 does just that by using a large integral image sensor.
The small size of the image sensor used in a conventional compact digital camera explains why it captures rather flat, unmodulated images. If the image sensor is small, the focal length of the lens is short. The shorter the focal length of the lens, the greater the depth of field - in other words, the greater the range of distances over which the lens can focus.
The prosaic quality of the images captured by an ordinary compact digital camera is caused by the depth of field characteristic of a small image sensor: the lens focuses evenly on everything between the subject and the background, eliminating any cadence within the image. The DP2, however, has an SLR-sized image sensor, so its standard lens is equivalent to 41mm in a 35mm camera, and with an F-number of 2.8, it has a large aperture as well. This means you can utilize the kind of cool natural background-blur effects you would normally expect of an SLR.
Direct Image Sensor
The DP2's Foveon X3 direct image sensor utilizes the special properties of silicon, which is penetrated to different depths by different wavelengths of light, to successfully achieve full-color capture for the first time ever in a single-pixel site configuration. No color filter is required. Like modern color film cameras, it uses a method that captures all the colors vertically.
Because it does not need color interpolation or a low-pass filter, the Foveon X3 produces images that are sharp right from the start. Therefore, sharpness processing in the latter stages of the image processing - creating edges and emphasizing contours - can be reduced to a minimum. This is why reviewers have evaluated the images captured by the Foveon X3 as having a truly nuanced, sharp feel and praised them as very natural and demonstrating superior image quality.
A lens with a focal length of 40mm to 60mm on a 35mm film camera is known as a "standard lens" because it delivers natural perspective, close to what the human eye perceives. The usual definition of a standard lens is one that has a focal length close to the diagonal length of the image format. The focal length of the DP2's lens is 24.2mm, and the diagonal length of the image sensor is 24.86mm. So, the lens used in the DP2 really does deserve to be called a standard lens.
In the past, standard lenses have traditionally been of either the Tessar or the Gauss type. The Gauss type is basically used for larger apertures with high performance. Its disadvantages include susceptibility to saggital coma flare when used with a point light source, and a tendency for the light volume to decrease towards the periphery. The Tessar type, on the other hand, has a simple structure, making it easy to miniaturize. However, its drawback is that it tends not to deliver high performance at larger apertures.
Adapting SLR Lens Technology for Our Own Purposes
Sigma believes that a photo is only as good as the lens it was taken with. So we decided that the kind of quality we wanted for the DP2 would not be attainable using the traditional techniques used to design standard lenses. We rethought the design from the development stage, and set out in pursuit of the highest possible lens performance. We took the bold step of using a retrofocus lens of the type mainly used as wide-angle lenses for SLRs.
Besides having the excellent telecentricity vital in lenses for digital cameras, this retrofocus lens has many other advantages: for example, this format makes it easy to suppress field curvature and astigmatism, and to ensure that the light volume stays the same right to the periphery. However the lens does need to be longer. Therefore, in order to minimize the total length of the lens while still attaining ideal image quality, we used two groups of lens elements: the group at the front have a high refractive index, and the group at the rear are aspherical glass-mold lenses. This way, we successfully developed a standard lens with a relatively modest overall length, but very high optical performance.
Creating sharp, clear images
As well as employing a rear-focus system, we used aspherical glass-mold lenses, enabling aberration variation to be minimized. And the elements that make up the DP2 lens have been treated with a super-multilayer coating that succeeds in keeping ghosting and flare to a minimum.
That's not all. Some of the DP2 lens elements are hyperchromatic, which enables chromatic aberrations to be corrected to a large extent, without impacting other aberrations. This means that even with a wide-open aperture, the images produced have minimal color flare, and are nice and sharp and crisp, right to the edge. The Foveon X3, which delivers amazing color resolution, also makes a big contribution to the very high level of "emotional image quality" delivered.
A super high-performance lens that's flat as a pancake right to the edge
In order to maintain high resolution and contrast from the center of the screen right to the edge, and to allow scope for those cool background-blur effects, we aimed for the kind of MTF and all-round lens performance only available with single-index lenses. We are confident that the DP2's lens, improved time and time again in the interests of delivering the best possible finished image, encapsulates Sigma's expertise as a leading manufacturer of lenses. The impact of the eye-popping image quality delivered by the DP2's lens is something you really need to see for yourself.
Proprietary X3F format for outstanding texture and color
In fact, shooting in X3F format has some advantages. In a digital camera, the image signal captured in RGB is recorded by being converted into what is known as YCbCr color space. The Y stands for brightness, and the CbCr stands for color difference. In an ordinary digital camera, a file format known as YCbCr 4:2:2 is used, where the color signal is set to half the brightness signal. This format was developed in order to send color information efficiently on the limited bandwidth available back when color television was first developed. Designed on the principle that the human eye is less sensitive to color data than to brightness data, this historical format has survived intact to this day, and is still used as the mainstream format in digital cameras.
However, now that digital camera performance has improved so dramatically, people are using their photos in different ways, displaying enlargements on their computer screens, and large photo prints are mainstream. Today's output conditions are getting better and better. The old YCbCr 4:2:2 format was designed for efficient signal transmission, and not for high-quality output. To our way of thinking, this format no longer adequate to meet the needs of all photographers.
X3F images preserving the balance of the natural data
The JPEG files from the DP2 are output in YCbCr 4:2:2 in compliance with the Exchangeable image file format (Exif) specification, which is the standard specification for file formats. But in the direct image sensor, each pixel location captures the full complement of RGB color data, so in X3F files, which is the RAW data format, brightness data and color data can be kept in a 1:1 ratio without relying on interpolation. When this image is processed in Sigma Photo Pro, even if it is saved as a JPEG, if the JPEG quality-setting selected is 7 to 12, it will be saved as YCbCr 4:4:4. The DP2's image quality, with its amazing vividness and texture, is really due to the X3F image data, which preserves the balance of the natural data. For the best photos with the best image quality, we definitely recommend shooting in X3F mode.
JPEG mode: photos finished the Sigma way
JPEG images captured by the DP2 are photos finished in what Sigma considers the most appropriate way. If you find that the photos you take in JPEG mode look the way you intended, then by all means enjoy the ease and convenience of the JPEG setting. Your JPEG images are ready to print - just plug the camera into your printer - and the image data files are ready to share with your friends and family. If you want email-friendly image files that can be transferred straight from your camera, JPEG mode wins hands-down on convenience.
However, when you create a JPEG file, the data is subjected to irreversible compression, which leaves very little scope for image-correction afterwards. And here's the rub: if you only shoot JPEG mode, you may find it very difficult to reproduce the photo you saw in your mind's eye, which is your own personal sensory experience. If you've ever used a conventional compact digital camera that only has JPEG mode, you'll know how unsatisfying the results can be. Unfortunately, it can be extremely difficult to fully express your artistic vision using only JPEG images, which are created using the camera’s automatic settings.
The DP1 offers a specially-designed image-processing engine called the "TRUE". For the DP2, we developed this key technology further, creating the "TRUEII". Applying our exhaustive knowledge of the image-creation mechanism of the direct image sensor, we used a proprietary algorithm to do full justice to its uniquely sophisticated 3-D rendering power, successfully optimizing both the image-processing time and the in-camera image processing itself.
Having focused our efforts on optimizing and recording the pure, rich signal captured by the sensor, we were determined that the DP2 would be the only camera fully able to deliver the optimal image quality we had pursued throughout our development of SLRs. The rich optical signal captured by the groundbreaking direct image sensor needed to be translated into an information-rich image. We entrusted that crucial task to our new, improved "TRUE II".
Enhanced image processing quality and speed
Leveraging the strengths of the direct image sensor, TRUE II does full justice to its uniquely sophisticated 3D rendering power, optimizing both in-camera image processing quality and speed. Also enhancing color reproduction and dynamic range, TRUE II, significantly contributing to the quality of the images produced within the camera. Further, noise that can tend to occur at higher sensitivities is suppressed by a new proprietary algorithm, with resolution maintained at the highest possible level.
And automatic exposure, focus and white balance functionality are strengthened, enhancing the camera's overall performance.
Sigma Photo Pro
Photo-finishing software designed to make you and your works shine (Not included)
The DP2 has an X3F mode (RAW file format) in which all the image data captured by the sensor can be recorded without any significant deterioration in camera performance. If you want to do your own hands-on photo-finishing, then for best results, we recommend Sigma Photo Pro, the image-processing software designed exclusively for these X3F files.You may think that "RAW data processing" sounds like something intimidatingly technical, requiring high levels of knowledge and skill.
If so, just try Sigma Photo Pro for yourself, and you'll soon find out how easy it really can be. Sigma Photo Pro focuses on only those functions you really need for artistic photo-finishing. Its interface is one of the most user-friendly and intuitive of the many RAW data-processing software packages on the market, so even if you're a beginner, you'll find it simple to turn your images into finished photos. Images can be customized using just seven parameters -- exposure, contrast, shadows, highlights, color saturation, sharpness and X3 Fill Light -- all provided in the Adjustment Controls Palette, plus the Color Wheel for adjusting the colors. Simply adjust these parameters and watch the image change in real time. That's all it takes to recreate the ideal photo you had in your mind's eye as you pressed the shutter.
A truly intuitive user interface
The business of taking photos boils down to the skill of the photographer. The photograph is the canvas for the photographer's individual self-expression. Sigma creates equipment for delving into the essence of photography. Sigma's design policy is to empower the photographer to concentrate on the core task: taking pictures. Our top priority is to deliver the functionality and reliability this requires. That's way in adding extra features, we've been generous to a fault.
The rather simple user interface we gave the DP1 has been refined for the DP2, making it even easier to shoot pictures just the way you want. Because it's a lightweight compact, we've focused on making it a more complete photographic tool that you can carry around with you every day.
A stylish new outlet for your inner artist
With its intuitive controls, and its increased portability and toughness, the DP2 is made to be taken with you anytime, wherever you go. Simple yet distinctive, its compact body will draw admiring glances. Packed into a neatly pocket-sized package, it has a capacity to deliver uncannily high image quality that is bound to amaze. Doing away with the old DSLR-versus-compact distinction that cramped photographers' style more than they ever knew, the DP2 offers more artistic freedom, and new horizons in photographic expression, making the finest in photography far more accessible than ever before.
Read about our customers' top-rated cameras on our review page: Point-and-Shoot Cameras
Top customer reviews
If, however, you've stumbled upon this camera and are unsure about what makes it special, let me briefly introduce you to it: Sigma cameras have Foveon sensors that work different to anything else in the market. Most sensors use a red-green-blue array of pixels (50% green, 25% blue, 25% red), where each image really captures only about a third of the photographic information: light comes into the sensor, depending of its wavelenght it gets picked up by either the red, green or blue pixel, and that's the only color information you'll have. This is how 99% of the cameras work today and years of engineering have made this approach a safe bet that works pretty well. Sigma is different. Their Foveon sensors are not structured in a red-green-blue pixel array, instead there are three layers of pixels: a ful layer of green, another one of blue, and another one of red pixels. This allows each pixel to record absolutely complete light information per each pixel, since the light will penetrate all three layers of color per image captured. In comparison, the Bayer sensor only captures about a third of information and "wings it" with the missing 2/3 by guessing what the correct color information should be (this is called interpolation).
On paper, it sounds like Sigma's sensors should be much better than anything else, since there's no interpolation through which to invent/guess colors that were never captured as it happens in Bayer sensors. Right? Not so easy. There's 2 problems:
1) The 3 layer stack structure of Foveon sensors means that light gathering works different than the single layer in a Bayer sensor, hence it's quite easy to get amazing greens (top layer) but reds tend to suffer a little bit (lower layer). By no means to Sigma cameras give you bad image quality, but it's sometimes harder to get their images to where you want them to be, you need to know what you're doing. Another disadvantage that even to date hasn't been fixed, is the fact that by not having 1 layer perfectly exposed to light and instead having 3 layers where 2 are further from the light than the top layer, sensitivity noise is a problem for Sigma cameras from ISO400 and above, there's no way to get around this technologically (for now). The 3 layer structure also has a marketing quirk: when a Bayer camera mentions it has 15MP, you should know these are not real 15 megapixels because of what I just explained: the 15mp spatial resolution is divided roughly by 3, so there's about 8mp green, 2.5mp blue and 2.5mp red. Still, due to the checkerboard pattern, the image you get will be, spatially speaking, 15mp large (but as you now know, those aren't really 15MP, it's more around 2/3 that amount since the other third of the image is basically made up and not real detail). Since Foveon sensors are 3 layers stacked, it's effectively a 5mp green, 5mp blue and 5mp red configuration, which means that although the image has 15mp of information, spatially, the image only stretches to 5mp.
2) As I said earlier, Bayer sensors have received most of the market's attention so far and have evolved greatly. Sigma is the only player to produce 3-layered sensors, and thus their progress has been much slower. This means that Sigma cameras tend to have many less features and technological advances than their Bayer counterparts, since Sigma isn't big enough to compete with Sony or Canon. However, make no mistake: 3 layered sensors are the future, and the fact that both Canon and most importantly Sony are getting these kinds of sensors ready to be marketed in the next few years proves it.
So, should you buy a Sigma camera? It depends. If you want amazing crisp and clean image quality at low ISO values, if you don't need to take really fast pictures (these cameras are kind of slow) and you can put up with the quirks and uncomfortability of these cameras, then by all means BUY these cameras. You'll get amazing pictures that you would only get with much more expensive Bayer sensor cameras at a fraction of the price, but these cameras will make you WORK to get those images. These are not point and shoots, you need to know what you're doing with regards to ISO, aperture, etc. Personally, I bought both a DP2 and a DP1 and I'm delighted with both of them. While for all-around performance/quality my NEX 5N is untouchable, when I want something even smaller that takes great quality pictures I never hesitate to take the Sigmas with me. Take that for what it's worth.
My agony stems from this camera's post-processing software. Not that it is in any way flawed. Far from it. It is a tremendous software, so easy to use and so convenient. The best thing about this is that you can have as many customized settings as you want and simply let it run the whole folder for automatic conversion. You will find for most photos this conversion will take care of itself and you won't ever need individual touching. But it may take a while to find the ideal setting combination as there is no guidance. You would have to experiment and find the combination that you would like for MOST of your photos through trial and error, and this process could be very tricky and time-consuming. If you cannot find the right combination for you, you will be frustrated. The colors will look either too gaudy/unnatural/saturated or too mundane, the picture will be either too bright or too dark, etc. This is really the crucially important process, I find, and I suggest that you search discussion forums in the Internet for a guidance.
The operation of the camera is superbly simple and convenient. Manual focusing could be used in all modes (eg in program mode, in aperture priority mode or in speed mode) just by pushing one dedicated button and turning the dial. Most important settings such as ISO/flash/WB/exposure are all in one specially designated button. Exposure compensation is easy as it is done in one step. Auto Exposure Lock (AEL) is very useful and has its own button. Battery life is good enough (200+ RAW shots). One oddity is that Auto ISO setting works only between 100 and 200. Considering that this camera produces eminently usable results at ISO 800, Auto ISO should be allowed to go up to at least 800. Another feature I like is that when you go into the menu button, do certain things, exit and then you go back to the menu again, it remembers where you left off so that you don't have to scroll through the entire menu list again. A thoughtful feature. Same for AEL - it remembers the last exposure obtained by pushing of the AEL button until either you push it again or you take a shot. The camera has certain analogue smartness and lacks digital stupidity, rendering its operation intuitive and simple. Unlike many electronic cameras these days, this camera does not have a bunch of features that people almost never use but rather seem to focus on the core set of useful features either in one-step or two-step operations.
When you shoot in RAW (it is a requirement; otherwise don't buy this camera), process it with the right combination of settings, the image result could stun you. Almost as good as a 1:1 DSLR and certainly more exciting. Yes, better than a GF1 or a PEN PE1 (I have used both). Very close to film cameras (film scan or slides). The colors are alive and kicking. Don't take my words for it -- just google seasoned professionals such as Julie Mayfeng (India & Nepal works) or Carl Rytterfalk who swear by this camera. And their works show what this camera could do when in right hands.
Most recent customer reviews
I have read a lot of reviews and comments before I bought one, so I will giving some points that I haven't...Read more
1. It is not a point and shoot camera.Read more