SIGMA 15mm F1.4 DG DN DIAGONAL FISHEYE | Art and 500mm F5.6 DG DN OS | Sports Prime Lenses Announced

Lens News

by Omri Keren LapidotFebruary 21^st, 2024

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SIGMA announces two new lenses, stretching their evergrowing range of high-end primes. The duo occupies both ends of the spectrum with the SIGMA 500mm F5.6 DG DN OS | Sports at the tele end, and the SIGMA 15mm F1.4 DG DN DIAGONAL FISHEYE | Art, the world’s first f/1.4 180° fisheye lens, at the other. As DG DN lenses, both are available in either L-Mount or E-Mount options.

SIGMA pushes on with their ambitious global vision. Debuted years ago with the SIGMA 35mm f/1.4 Art (recently replaced by a modern version), it has utterly transformed SIGMA’s entire brand perception. Today SIGMA produces pristine optics – some of which are the pinnacle in their respective field. Provocative as it may sound, I believe the access to SIGMA’s lineup was and still is a key component in the rise of Sony’s E-Mount cameras, as well as in the success of the L-Mount alliance. Today, this prominent line is growing with two additional groundbreaking lenses.

Optical design

Both lenses boast quite complex optical designs. The 15mm F1.4 DG DN DIAGONAL FISHEYE | Art lens’s optical formula consists of 21 elements in 15 groups, including 4 FLD, 3 SLD, and 2 aspherical elements. This complex design enables this lens to “overturn the conventional wisdom about fisheye lenses” (in SIGMA’s words). Fisheye lenses are notoriously problematic in terms of technical optical qualities. Sometimes considered to be gimmick lenses, various manufacturers didn’t put up as much effort to get their models to optical perfection. SIGMA took another path, perfecting the optical formula. As the complex formula suggests, this lens opts to combat every optical aberration, save for distortion. This should separate the world’s first f/1.4 full-frame fisheye lens from the crowd.

The 500mm F5.6 DG DN OS | Sports also features a slew of elements – 20 that is, arranged in 14 groups. The inclusion of 3 FLD and 2 SLD elements should minimize most aberrations while keeping the lens size manageable for handheld shooting.

Build and ergonomics

Both the 500mm F5.6 DG DN OS | Sports and the 15mm F1.4 DG DN DIAGONAL FISHEYE | Art are rugged, outdoor-ready lenses. Both are weather-sealed and are treated with protective coatings. The use of SIGMA’s TSC (Thermally Stable Composite) makes them a bit lighter than full metal construction. Both lenses use a fast autofocus motor dubbed “High-response Linear Actuator” and include programmable AFL buttons (functionality will differ depending on the mounted camera). Each also possesses some unique features and functions relevant to their respective use cases.

SIGMA 500mm F5.6 DG DN OS | Sports

The 500mm f/5.6 seems light enough for hand-held use and includes a capable 5.0 stop optical stabilizer to further enhance its stability. Though hand-holding is a viable option, both lenses are equipped with a tripod collar and foot. This includes both standard screws as well as an Arca-type shoe.

The lens includes several switches and buttons. A focus limiter will let you limit the range in which the lens will hunt for focus. Limiting this range may greatly improve reacquisition speed within the designated range since the lens won’t need to search across its full focus range. There are also three AFL buttons, and L-Mount shooters may reprogram them using the USB Dock. The L-Mount version is compatible with SIGMA’s 1.4x and 2.0x teleconverters. The lens is also equipped with a de-clickable aperture ring (via a dedicated switch). Two switches will control the optical stabilizer (OS) unit – one on/off switch and one mode switch for general use or panning mode.

SIGMA 15mm F1.4 DG DN DIAGONAL FISHEYE | Art

The SIGMA 15mm F1.4 DG DN DIAGONAL FISHEYE | Art includes a Manual Focus Lock (MFL) switch. Once engaged this switch disables the focus ring preventing any accidental motion. If you have ever tried to create a series of consecutive long exposures of the night sky, you’ll appreciate this. If a heat strip is in use, the lens includes a specific retainer to prevent it from protruding into the 180° frame. As with many ultra-wide lenses, the 15mm F1.4 lens is equipped with a rear filter holder. The lens cap features two slots to store those delicate filters when not in use.

Who are they for

Both 15mm and 500 mm focal lengths are rather niche. The tele is aimed at sport, wildlife, and other super-tele applications. The size and high-end build quality should help outdoor shooters haul such an extreme focal length into the wild.

With its fast aperture, extremely wide field of view, and unique operational features the SIGMA 15mm F1.4 DG DN DIAGONAL FISHEYE | Art is aimed squarely at astrophotographers. Unlike other ultrawide lenses, its fisheye characteristics deny most mainstream architecture applications, but it can produce some interesting results on the dance floor of your next wedding or rave session.

Alternatives

Although both lenses are on the fringe regarding focal range, the 500mm has many alternatives to choose from. Sony E-Mount users will enjoy a variety of options in both zooms and primes in various price ranges, from Tamron, Sony, and SIGMA. L-Mount users won’t have as many options but will still manage, mostly with SIGMA, and with no tele-primes. Concerning focal range, these options differ significantly regarding optical and mechanical quality. The case for the 15mm f/1.4 is a tougher one, with no direct competitor combining both speed and field of view. One can opt for the slower Canon EF 8-15mm f/4L Fisheye USM, but it’s hardly the same with its f/4 aperture.

Price and availability

The SIGMA 15mm F1.4 DG DN DIAGONAL FISHEYE | Art will be priced at $1,999. The SIGMA 500mm F5.6 DG DN OS | Sports will set you back $2,999. Both are available for pre-order.

To what end do you lean? Will it be the ultra-wide or the super-tele that ticks your box? Let us know in the comment section below.