Posted By Jaron Schneider on Feb 22, 2016

Today Sigma announced what is probably the most exciting piece of glass since the last time Sigma announced a ridiculous lens (the 24-35mm f/2, and that was the most exciting thing announced since they released the 18-35mm f/1.8). Today, the rumored 50-100mm f/1.8 ART lens was confirmed, and the photo world is beside itself with awe. In fact, I would not be surprised if Sigma competitors are just leaning back in their office chairs wondering, “Well… what do we do now?” Sigma is changing the rules of the game, and it’s a joy to watch.

When we look at the nitty gritty, it’s more of what we have come to expect from Sigma:

Sigma Art Line Image Technology Innovation

• Features three FLD (F Low Dispersion) glass elements, one SLD (Special Low Dispersion) glass element, and one high-refractive index, high-dispersion glass element to minimize aberrations.
• Redesigned and enhanced, the new Hyper Sonic Motor is 30% slimmer and provides fast and accurate AF.
• Highly durable polycarbonate diaphragm made with fluorine; blades feature carbon feather film offering exceptionally smooth operation even during continuous shooting.
  

Outstanding Zoom Lens Maneuverability

• Inner focusing and zoom design offer versatile shooting options
• Tripod socket for stable, comfortable operation
• Features 21 elements / 15 groups, Minimum Aperture: F1.6, 82mm filter thread, Minimum Focus Distance: 37.4in, Dimensions: 3.7×6.7, Weight: 52.6oz

But those interested in this lens already know what to expect: outstanding performance. I have used the hell out of the 18-35mm f/1.8 ART, and it’s my go-to lens when shooting 4K on my GH4. It’s versatile, sharp, not crazily heavy, and most importantly it’s fast. I think the critics of this lens are going to be looking at it through full frame clouded glasses, forgetting that the market is full of outstandingly performing sensors that are APS-C or smaller in size. The Canon 7D Mark II, for example, would love this lens. My Panasonic GH4 would greatly love it. Plus, there are a great deal of modern full frame cameras that have a “crop” mode. With sensor tech rapidly evolving and smaller sensors closing the gap on quality with full frame ones, this is the perfect time to be adding such an incredible lens as an option for crop sensor owners.

What’s really, really awesome is that we have gotten to a point where very few of us are questioning that this lens will be amazing: we simply have come to expect it. Instead, we’re talking about lens viability, which has leapfrogged the usual argument of “will it be sharp” or “will it be a quality optic.” In a few short years, Sigma has gone from being a questionable lens selection to being the first and best choice for well-priced, highest quality glass. I don’t think I will ever stop being impressed by that.

If you can’t tell, yes I’m very excited to add this lens to my arsenal. In fact, it’s going to allow me to slim my video kit down and only require two lenses (18-35 f/1.8 and 50-100 f/1.8 covers pretty much everything I’ll need, along with a few variable ND filters). That means less gear to lug, fewer times changing my lens (which means less dust getting on the glass), and an overall easier workflow.

I can’t wait.

Sursa http://resourcemagonline.com/