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By f/5.6, the 30mm f/1.4 and 35mm f/1.8 overtake the 30mm f/2.8 by a small margin. This is because diffraction already appears at f/5.6 on this lens (which I found quite surprising to be honest). However, by f/8, the results seem to even out once again as diffraction takes its toll on the other two lenses. It is at this value that all three lenses begin to lose some contrast as well. You posted links from a Touit tested on a Fuji camera and a Sigma tested on m43. You know that these results are not comparable, yes? The same is true at f/4, too, at which the Sigma 30mm f/1.4 DN boasts slightly greater resolution overall and improved results in the outer field compared to the competition Here is an exact quote from a lady I took a few images of her last Saturday afternoon, inside a church (after a seminar) in almost darkness (dimmed lights to the minimum), hand-held, at f/1.2 (camera auto selected an ISO of 3,200), auto shutter was 1/20th for a portrait, 1/45th, and 1/60th for 2 full body shots.
Hello ,I own the lens with a6300,and i have hard time to agree about usage of all PDAF area compared with native Sony lens. Also the AF-C mode have more hunting issues . We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the center of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).wider than F/2.8. Almost half the frame is soft at F/1.4-F/2. The above crops were taken at dead center and focused Lightweight in build and selling price, this is a high-performance standard prime that combines very good build quality and nice handling characteristics with solid all-round performance. Autofocus is fast and accurate, yet smooth and virtually silent for movie capture. Image quality is excellent overall although, as is usually the case with fast prime lenses, axial chromatic aberration can be noticeable when shooting wide-open. All things considered, this Sigma is terrific value at the price.
As to be expected with a bright aperture prime, the Sigma experiences some heavy vignetting wide-open, with 1 1/3 stops light lost in the extreme corners. The good news is stopping down even to F1.8 shows a great improvement.The optical path includes nine elements in seven groups. Two of the elements are aspherical but the lens features neither FLD (Fluorite-grade Low Dispersion) nor SLD (Special Low Dispersion) elements, often used in Sigma lenses to boost sharpness and contrast, while reducing chromatic aberrations. Although none of the lenses feature weather-sealing, they all sport a solid barrel made of a mix of high grade plastics and metal. Holding them in the hand, the 35mm f/1.8 comes across as the least robust of the three because there is less metal covering the exterior.
It’s in his last paragraph. Do you like landscapes and shoot a lot at infinity? The Sony. Do you value image stabilization or have you gotten used to M since the camera will stay at 1/60 otherwise? I use M with every unstabilized lens and A with the stabilized ones. row shows coma. Wide open at F/1.4, there is moderate coma, but just one stop down and it's nearly gone. The only downside is that axial or ‘longitudinal’ chromatic aberration is sometimes visible when shooting at very wide apertures. Also referred to as ‘bokeh fringing’, this shows up as purple and green fringes around high-contrast transitions, in front of or behind the point of focus. Unlike lateral chromatic aberration, which generally only occurs towards the edges and corners of the frame, axial chromatic aberration can occur anywhere in the frame. Even so, the Sigma isn’t an underachiever in this respect, matching or beating many other fast primes including the Canon EF-M 32mm f/1.4. Reduce the aperture by a single f/stop and the fringing virtually disappears. The three new Sigma EF-M primes share several things in common: they all sport a bright f1.4 focal ratio that’s ideal in low light for for creating shallow depth-of-field effects. They claim to be sealed against dust and moisture, something that’s so far eluded all of Canon’s EF-M lenses, although I couldn’t see a rubber O-ring on the mounts. They all come supplied with lens hoods, an accessory that Canon charges for on non-L lenses. They all work with Canon’s Servo AF as well as face and eye detection, while additionally including built-in profiles to work with in-camera correction and provide full EXIF information. They’re all members of Sigma’s Contemporary series, and if you get bored of EF-M, you can have the mount converted – for a fee – to Sony E or Micro Four Thirds if you prefer. A YouTube video reviewing this Sigma 30 says it compares favorably to the Sony 28 fe on the a6300. In fact he indicates the 28 is a hair sharper. See the YouTube video from Lavikka Photography: "Sigma 30mm F1.4 DC DN Lens for Sony APSC E mount NEX 7, a6000 and a6300 Review and Test"Not only is it incredibly sharp, but even the bokeh looks good. While not quite a telephoto, the lens renders beautiful bokeh balls that allow for excellent subject isolation. This Sigma 30mm F/1.4 EX DC is marketed at cropped sensor camera owners wanting the same basic view as a 50mm lens has on a full frame camera, and a The lenses in the Sigma trio (again, the 16mm, 30mm, 56mm) are known as being the sharpest lenses in the Sony APS-C lineup, and the Sigma 30mm F1.4 is absolutely no exception. Wide Open Despite fairly heavy (–1.7EV) corner shading at f/1.4, close down 1 stop and vignetting on the Sigma 30mm f/1.4 DN is comparable to the Zeiss 32mm f/1.8 and better than the Sony E 35mm f/1.8
As for the corners, you’ll immediately notice how much sharper the two Sigma lenses are compared to the Sony up until around f/5.6. The 16mm, 30mm and 56mm F1.4 DC DN | Contemporary lenses are the perfect trio if you own a crop sensor mirrorless camera. These are great lenses for street photography and excel in low light conditions."
The Sony 35mm f/1.8 is the only lens that is perfectly compatible with a6300’s PDAF system, which makes sense given that it is a Sony E lens. If you switch over to C-AF and Wide focus area, for example, the green PDAF squares will light up across the frame regardless of where your subject moves.
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