Kit check | toolkit
Both lenses demonstrate Sigma’s willingness to explore territory that more conventional optics leave untouched
Of course, shooting moving subjects at f ⁄ 1.2 presents the problem of keeping them sharp. Sigma uses a dual High-response Linear Actuator (HLA) AF system, making AF both fast and impressively quiet. With a modern Sony body offering good face and eye detection, it makes shooting wide open less intimidating. Focus breathing is very well controlled, the aperture ring can be de-clicked and there’s an aperture lock, plus two assignable AFL buttons. At around 905g ⁄ 2lb for the E-mount version – although an L-Mount is also available – it’s a substantial lump of glass. But it balances surprisingly well on a suitably full-frame body or rig. Construction feels every bit as serious as you’d expect from an Art lens, with dust- and splash-resistant construction and a water- and oil-repellent front coating. An 85mm f ⁄1 .2 is inherently specialist and, for run-and-gun shooting, there are obviously more flexible choices. But for interviews, portraits, music videos, weddings and narrative work where you have time to construct the image, its combination of compression, beautiful separation and low-light ability can create something genuinely distinctive. Wide boy If the 85mm is about maximum visual impact, the 20-60mm f ⁄ 2.8-4 DG Contemporary is much more about getting the job done – helped by those extra few millimetres at the wide end, which make a substantial difference.
Interiors, establishing shots, handheld work, gimbal shooting and filming yourself at arm’s length all benefit from additional width. It’s particularly relevant to today’s creator, who may need to shoot conventional 16:9 footage before extracting vertical or square versions for social platforms. You can twist the same lens through to 60mm for interviews, details and tighter compositions without swapping glass. It’s an extremely useful range. It weighs just 375g ⁄ 0.83lb, ideal for compact full-frame mirrorless bodies and particularly attractive for gimbal work. There is inevitably a compromise, as the maximum aperture is f ⁄ 2.8 at 20mm but falls to f ⁄ 4 as you zoom. For many real-world shooting situations, that trade-off makes sense given the size and weight saving. Optically, the 20-60mm performs strongly. Its construction comprises 15 elements in 13 groups, including three SLD and three aspherical elements. Images are crisp and detailed throughout the range, and Sigma has also worked to minimise focus breathing. Autofocus is a single HLA motor and proved quick, quiet and unobtrusive. Again, that’s exactly what you want for a lens likely to find itself shooting events, documentaries, travel and creator content. Minimum focus reaches 20cm ⁄ 7.9in at 20mm, enough to grab close-up details and product shots. Like the 85mm, there’s dust- and splash-resistant construction, as well as a water- and oil-repellent coating on the front element, for confident location work.
Dynamic duo The zoom is capable of great close-ups and bold colours (top two images) and the prime is perfect for isolating the subject
Our rating: 9 /10 Both lenses were created to do different things. The 85mm Art is the indulgent one. It’s big, fast and capable of producing images with a look that’s difficult to replicate with slower glass. It’s an impressive creative tool for filmmakers who shoot people and want maximum control over depth-of-field. The 20-60mm f/2.8-4 is small, light and very useful. Starting at 20mm makes it more interesting for video than yet another conventional standard zoom, while 60mm gives enough reach to make it genuinely versatile. And it’s very affordable.
Earn your stripes The latest Sigma lens duo are very different but both make compelling additions to your lens arsenal
93
promoviemaker.net
Powered by FlippingBook