When you purchase through links on our site, we may earn an affiliate commission.Heres how it works.
The lenses are the 16mm F1.4, 23mm F1.4, 30mm F1.4 and 56mm F1.4 DC DN Contemporary lenses.
Check out a few sample photos in the gallery, below.
From left to right; the Sigma 16mm F1.4, 23mm F1.4, 30mm F1.4 and 56mm F1.4 primes
Picture quality is very good, from what is the priciest lens of the quartet.
Again, shoot JPEG and color fringing is mostly dealt with, although not completely.
Put simply, this lens takes next-level portraits over Canon’s kit lens.
From left to right; the Sigma 16mm F1.4, 23mm F1.4, 30mm F1.4 and 56mm F1.4 primes
Another thing I really appreciate about the lens is just how lightweight and compact it is.
As such, Sigma’s lenses for Canon’s RF mount cameras are highly appealing.
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
Detail right up to the edges of the frame is very sharp, as seen in this boardwalk(Image credit: Tim Coleman)
The 16mm lens has a good handle on glare.(Image credit: Tim Coleman)
The wide 24mm perspective allows you to get close to subjects and fill the frame with them.(Image credit: Tim Coleman)
Taken with the lens aperture wide open at f/1.4, this vista has a nice depth to it.(Image credit: Tim Coleman)
Stopping down to f/11 gives greater clarity to the background, with most of the scene in sharp focus.(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
Some people think a 35mm lens is not wide enough for landscape photography, but I think you can get a decent perspective with it.(Image credit: Tim Coleman)
You can get a smooth focus fall-off for closeup subjects when shooting at f/1.4.(Image credit: Tim Coleman)
I make use of the f/1.4 in plenty of scenarios with a 35mm lens, to make subjects stand out.(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
Who’s that handsome hog? (self-portrait)(Image credit: Tim Coleman)
Dreamy shallow depth of field acquired with the f/1.4 maximum aperture.(Image credit: Tim Coleman)
The 45mm equivalent focal length could be the only one you need.(Image credit: Tim Coleman)
The aperture for this photo was f/2.8, and you can see the harder edges in the background bokeh already.(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
The dappled light through foliage ‘bokeh’ has a ‘cat’s-eye’ shape in the majority of the frame in this image taken at f/1.4(Image credit: Tim Coleman)
That bokeh is, however, smooth on the inside and its edges, I call that dreamy.(Image credit: Tim Coleman)
The 85mm equivalent focal length has a flattering compression effect that helps your subjects to stand out.(Image credit: Tim Coleman)
I’m a fan of telephoto landscape, such as this expansive vista for which a wide-angle lens just isn’t the same.(Image credit: Tim Coleman)
There’s that compression effect again.(Image credit: Tim Coleman)
I think the best scenery photos focus on key details, and the 85mm focal length can help with that. In fact, I often shoot landscape photos with an even-more telephoto 135mm lens.(Image credit: Tim Coleman)
