![]() ![]() One drawback of using this lens with Nikon DX cameras is the lack of optical stabilisation in the lens. It might feel a little small on a full-frame model, but the benefit of a lightweight option for your kit bag is potentially worth it. It is the smallest of the Contemporary trio and balances pretty well with the Z30, though it’d also be an excellent match for the Z50 and the Zfc. We’ve been using the 56mm F1.4 with the Nikon Z30. You might therefore consider it to be a better priced (and smaller) version of the Nikkor Z 85mm f/1.8 S lens for this type of camera. If you have a full-frame Nikon camera, such as the Nikon Z6 II, you can use the Sigma 56mm with it, with your camera automatically diverting to crop mode to give the same 84mm equivalent focal length. Alternatively, you might consider mounting the Nikkor 50mm f/1.8 S lens, which would give you an equivalent of 75mm on your APS-C camera, but will cost you a little bit more, and is quite a lot larger than the Sigma 56mm lens. If you’re a DX user, then the nearest you’ll get to this focal length from a proprietary prime lens is the Nikkor DX 24mm f/1.7 lens, or, you might instead use something like the Nikkor Z DX 50-250mm f/4.5-6.3 VR lens or the Nikkor Z DX 18-140mm f/3.5-6.3 VR lens. The 56mm f1.4 is the longest of the trio and gives you an equivalent focal length of 84mm, making it particularly ideal for portrait photography. The 56mm F1.4 lens from Sigma balances well on Nikon’s DX cameras. If you therefore want a prime lens at this focal length, then for now at least, Sigma is the only route available. It’s worth noting that none of these three optics has direct equivalents for Nikon APS-C models from Nikon itself. These are designed mainly for use with Nikon’s APS-C models like the Nikon Z50, Nikon Z30 and Nikon Zfc. Amy Davies spent some time with each of the new lenses to find out how well they paired with Nikon Z.Īs well as the 56mm f1.4 DC DN C for Z mount, we also get the 16mm F1.4 DC DN and the 30mm F1.4 DC DN for Z mount. Three of Sigma’s contemporary prime lenses were announced as becoming available for the Nikon Z mount in April 2023, following on from options available for Fujifilm, Canon, Leica L and Micro Four Thirds. Sigma 56mm F1.4 DC DN C for Nikon Z Mount I would recommend the combination as an affordable starting point to anyone starting out taking portraits. Images had a lovely contrast with good skin tones, especially when paired with the Pro Neg Standard and Pro Neg Hi Film Simulations. I found the focusing, when paired with the Fujifilm X-S10, allowed me to take full advantage of face and eye autofocus. Corner shading becomes less obvious when it’s stopped down, with edges measuring around 0.7EV darker than the centre at f/2 and becoming almost completely absent by f/4. Our tests reveal the corners of images appear darker than the centre by approximately 1.2EV. ![]() The caveat of using a lens wide open is the vignetting it can introduce at the edge, but in some cases, such as for portraiture, it can be quite appealing. Diffraction has the affect of softening images at f/16. For the best edge-to-edge sharpness it should be used around f/5.6-f/6.3. Corner sharpness (shown by the dotted red line) doesn’t reach the same level as centre sharpness, but does steadily improve from f/1.4 to f/5.6. Centre sharpness (shown by the solid red line) improves considerably by stopping it down from its maximum aperture to f/2 and peaks between f/2.8 and f/4. Sigma 56mm f/1.4 DC DN C Resolution, shading and curvilinear distortion ResolutionĪ study of our Image Engineering Tests reveals the lens is sharper in the centre than at the edge throughout the aperture range. Some mild traces of purple and green fringes of colour were still obvious in shots where the built-in lens profile was applied, so you may find yourself applying some additional manual correction, just as I did. Sony A6500, Sigma 56mm f/1.4 DC DN Contemporary, 1/25sec at f/1.4, ISO 1600 (Lens corrections switched on)Ĭhromatic aberrations were also traced along high-contrast edges at f/1.4 when in-camera corrections were turned off.
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