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Gear Rumors

Sigma 50-100mm, 30mm F/1.4, EF-E Adapter & Nikon DL Cameras Leaked {Daily Roundup}

By Anthony Thurston on February 19th 2016

Welcome to our roundup series where we will hit on several gear news and rumor topics each day. This gives you a chance to get caught up on all of the day’s news and rumors in one place. Make sure to check back daily for the latest gear news, rumors, and announcements.

Sigma 50-100mm F/1.8 Leaked

The big news on the rumor mill this morning has been the leak regarding Sigma’s upcoming announcement. We now know what that teased lens is, assuming this leak is legitimate. Ladies and Gents, I give you the Sigma 50-100mm F/1.8!

sigma_50-100mm_f1.8_001Yes, sadly it’s an APS-C only lens, like their 18-35mm F/1.8. But this a big deal and shows that Sigma is committed to continuing to push boundaries. The lens is expected to be announced officially in the next couple of days and available around the end of April according to the rumor.

We also have some more detailed specs:

  • Lens construction: 21 elements in 15 groups
  • Three FLD, one SLD elements, one high-refractive-index high-dispersion glass, three high refractive index SLD glass
  • Filter size: 82mm
  • Shortest focusing distance: 95cm
  • Maximum magnification: 1: 6.7
  • Total length: 170.7mm
  • Maximum diameter: 93.5mm
  • Weight: 1490g
  • Aperture blades: 9 (circular aperture)
  • New thinned ultrasonic motor
  • Inner focus, inner zoom
  • Suggested Retail price in Japan: 167,400 yen (tax included) or around $1,400

This is an exciting lens for APS-C shooters as it brings them closer than ever to that full frame depth of field in a zoom lens. The price also looks to be fairly competitive as well.

Sigma 30mm f/1.4 For Mirco Four Thirds Leaked

The other big leak from the Sigma announcement is that the prime lens we saw will NOT be an 85mm lens. No, according to this leak, that lens is a 30mm F/1.4 lens for M4/3. While this may not be super exciting for full frame Sigma ART lovers, this is a big deal for Panasonic and Olympus shooters.

sigma_30mmf1.4dn_001

  • Nine lenses in 7 groups (Double-sided aspherical lens with high refractive index and high dispersion glass)
  • Aperture blades: 9 sheets (circular aperture)
  • Filter Size: 52mm
  • AF motor: stepping motor
  • Shortest photographing distance: 30cm
  • Maximum shooting parking rate: 1: 7
    Inner focus
  • Total length: 73.3mm
  • Maximum diameter: 64.8mm
  • Weight: 265g
  • Mount Sony E mount, Micro Four Thirds mount
  • Release Date: March 18, 2016
  • Suggested retail price of 51,840 yen (tax included). This is around 420 Euro or $460.

Apparently, the lens will also be available in a Sony E mount version, which will be nice for you A6000 fans out there. The rumor notes that the lens should be available around March 18th and will retail for around $460.

Finally, A Sigma EF/SA-E adapter

Sigma_Mount_Converter_MC1

Lastly (on the Sigma front), it has been leaked that Sigma will be announcing their own Canon EF to Sony E mount adapter (as well as a Sigma SA to E mount version). This new device would be an alternative to a Metabones adapter, and we assume that it will offer some sort of optimized performance with Sigma’s lenses.

We don’t know much about the lens other than that it will allow for full electronic aperture, IBIS, and autofocus control. I am really interested in this adapter and am curious to see if Sigma has managed to put together an adapter that works better than the options currently on the market.

Nikon to Join Premium Compact Market

Nikon-1-J5-1-inch-sensor

It looks as if Nikon is gearing up to announce a line of premium compact cameras of their own (a la G7X & RX100), and they will be given the ‘DL’ designation.

We are hearing that there will be three models, with the biggest difference between them being the lens bolted to it. The rumored cameras are listed below, along with the expected lens.

Nikon DL 24-85

  • Sensor: 1 inch BSI CMOS sensor
  • Lens: 24-85mm f/1.8-2.8
  • Size: 105.4 x 61.5 x 50.0 mm
  • Weight: 350g

Nikon DL 18-50

  • Sensor: 1 inch BSI CMOS sensor
  • Lens: 18-50mm f/1.8-2.8
  • Size: 105.5 x 62.5 x 56.6 mm
  • Weight: 350g

Nikon DL 24-500

  • Sensor: 1 inch BSI CMOS sensor
  • Lens: 24-500mm f2.8-5.6
  • Size: 122.5 x 89.9 x 139.4 mm
  • Weight: 830g

I am a big fan of these small, yet powerful, compact cameras, and welcome Nikon to the game.

What are your thoughts on today’s roundup? What news/rumors did we miss? What would you like to see covered in future roundups? Leave a comment below and let us know what you think!

Anthony Thurston is a photographer based in the Salem, Oregon area specializing in Boudoir. He recently started a new project, Fiercely Boudoir to help support the growing boudoir community. Find him over on Instagram. You may also connect with him via Email.

Q&A Discussions

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  1. Peter Stout

    Early rumors had me excited for an 85-135 f/2 DG lens. This has been a large disappointment for me.

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  2. Joram J

    I’m curious on the Sigma EF-E adapter. Love to use my EF lenses on the A5100 for some timelapse stuff, the 16-50PZ has failed me a couple of times :(

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    • Phil Bautista

      There are several EF-E adapters out on the market now. AF performance isn’t the best though so you should hone up on your manual focusing skills (though focus peaking helps out a lot). The Sigma adapter would be a boon if you have a lot of Sigma GlobalVision lenses with the EF mount but if you think this adapter will do a good job with Canon or other lens brands using the EF mount, Sigma hasn’t made any claims to that effect. We can still hope, though. But for 3 to 4 times more than the cost of the el cheapos, I’ll live with MF.

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  3. adam sanford

    Sigma is nuts, but in a beautiful way.

    I eagerly await my FF variant of this lens, an ever so impractical 70-120mm f/2.0 that weighs fourteen tons (and still lacks IS).

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    • Anthony Thurston

      I would actually like an 50-100mm F/1.8 for full frame. I honestly would hardly ever need another lens, lol.

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    • adam sanford

      Yeah, I imagine for your boudoir work you need fast glass shot wide-open… but you must run into prime focal length challenges all the time given the small size of most interiors.
      .
      So a crazy fast zoom straddling the common portraiture focal length would be gold for you.

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    • Anthony Thurston

      I would settle for a 35-80mm F/2 ;)

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    • Paul Nguyen

      The problem is the 24-35mm f/2 (and also, the 35-80mm f/2 you’re proposing) all suffer from a really similar problem and that’s the fact that there are just too many options available.

      Let’s say Sigma produces a 35-80mm f/2 and sells it for ~$1k. You can pay less for a 50mm f/1.4 ART, get better IQ, a stop more light and you can just step forwards or backwards to frame.

      Alternatively, also for less cost, you can also get the Tamron 24-70mm f/2.8 VC, which will give you much greater versatility (24 to 35 is a really big difference) and you gain VC and you lose only a stop of light. IQ will probably be in the same ball-park.

      So ultimately, I think this sort of lens, as well as the 24-35mm f/2, just won’t sell really well because it’s being stuck between two very good options. I’m not sure how much you know about economics (I’m an economist), but essentially there’s a phenomena in economics where nobody wants to be the ‘middle guy’, which is what this Sigma lens would be. Everyone after convenience would go for the 24-70, everyone after IQ and low light will go after the primes.

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    • Moise Oiknine

      Im sorry to step in the middle of this… But a 50-85 f1. 8 for full frame would kill off a bunch of primes in my bag right now… Especially with the sigma IQ

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    • Phil Bautista

      That lens would be very difficult to maneuver. Too heavy.

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  4. Phil Bautista

    Sigma shocked the photography community when it came out with the 18-35/1.8 and priced it below $900. It would be so disappointing if they couldn’t keep the pricing similarly low on the 50-100/1.8. APS-C users are primarily enthusiasts with more limited budgets. Most pros in the market for $1500 lenses probably already have something in their arsenal to cover this range.

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    • robert s

      $1200 is reasonable for this lens. 1400 is too much. less range but most definitely better IQ

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    • adam sanford

      Respectfully guys, please identify me another pro-grade, laser sharp portraiture zoom that is as fast as a prime *at any price*.
      .
      Sigma wins here. Innovation –> exclusive offerings –> they can set whatever price they like.

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  5. Paul Nguyen

    The Sigma 50-100mm F/1.8 seems like an interesting lens. It’s equivalent to a 75-150mm f/2.7 lens on 1.5x Nikon crop, so it’s not quite as versatile as a 70-200mm f/2.8 lens on full-frame, but it will give crop sensor users access to affordable lenses which give full-frame results.

    This lens actually makes me consider going to an APS-C system, especially with their new Sony adaptor, perhaps an A6300 with this and the 18-35mm f/1.8 would make a great pro-level kit.

    That said, however, the omission of IS (or as Sigma calls it, OS), is a completely bone-headed decision and I think this will be a big deal. For the 18-35mm f/1.8 it didn’t matter too much, but for a lens that’s equivalent to 150mm on full-frame, it’s a big deal. What I really love about Tamron recently is their decision to include VC in basically all of their lenses.

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    • Stephen Jennings

      A6300 + this lens was the first thought that crossed my mind when reading this. I’ve been considering the A6300 as a lighter second body (this lens is fairly heavy so maybe not, but still, I never thought I’d be considering going back to APS-c.)

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    • John Cavan

      The F/1.8 is still an F/1.8 because the focal length of the lens hasn’t changed, just the field of view.

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    • adam sanford

      The f/1.8 will be f/1.8 **for the purposes of light gathering** (and by extension, your exposure), yes.

      But Paul was referring to bokeh / subject isolation / DOF, in which case he is roughly correct. There is no free lunch.

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    • Paul Nguyen

      Like Adam said, there’s no free lunch. If he didn’t explain it well enough, let me expand a little on the physics side of things.

      Let’s talk about DOF. If you attach a 32mm f/1.8 lens onto a 1.5x crop camera, what that does is it takes a 32mm f/1.8 image and then crops it by 1.5x on each axis. So what you get is an image that has the same FOV as a 50mm lens, but the DOF is, obviously, still the same as a 32mm f/1.8 image. Since aperture and FL are inversely proportional for equal DOF (look up the DOF formula), the DOF will be equal to what a 50mm f/2.7 lens will give you on FF. Thus, the resulting image will be comparable to 50mm f/2.7.

      In terms of light gathering ability, the light per area is still the same, but you’re capturing less light overall. Since the area of a crop sensor is 2.25x smaller (i.e. 1.5^2), the total amount of light captured will be 2.25x less, which is why crop sensor images are noisier than full-frame images. Thus, even in terms of light capturing ability, it will behave more like a f/2.7 lens.

      Ultimately, cropping means you lose light, you just don’t know about it. It’s exactly like attaching a teleconverter, which is optical cropping rather than digital cropping. There will always be a trade-off between reach and light captured. For the same amount of glass, if you get more reach by cropping in more, you get less light.

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    • John Cavan

      Gotcha, just read a well done article on Photography Life on the subject as well, Makes sense, never really thought about it that way.

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    • Dave Haynie

      It really comes down to light gathering per pixel. A full frame camera with an f/1.8 lens and 3.7µm pixels will have exactly the same light per pixel and exactly the same noise, for the same level of technology, as an APS or Micro Four-thirds or any other camera with 3.7µm pixels. Maybe a bit more technical, but it’s better to think that way because it works across all formats… it tells you why a Canon 5DIII is better in low light than a Canon 5Ds, for example.

      Using the “crop factor” is certainly useful for assessing relative focal length and, to an extent, relative depth of field. But DOF is also related to pixel size. At smaller pixel sizes, the same lens and aperture setting becomes detectably out of focus closer to ideal focus than an otherwise identical system with larger pixels. So, say, going from one of these 1″ cameras at 20Mpixel (2.4µm pixel size) to a full frame at 20Mpixel (6.55µm), you’ll get more useful DOF on the larger camera, even after “doing the math” with your crop factor (50mm f/4.9 on the full frame -> 18.5mm f/1.8 on the 1″ camera).

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    • Anthony Thurston

      Funny, I was just thinking this (along with the 18-35mm) would be a KILLER combo with a D500. I will have to wait and see how their new adapter performs before considering the A6300. That said, if it does perform well, I agree with you.

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    • robert s

      but I bet you that sigma is a way better performer than any 3x focal range 70-200 and will be quite close to primes in IQ

      this lens and the 18-35 art. just amazing. wish we had a combo like this for ff

      *********************************************************************btw anyone else notice their text bump up and down when they type?
      **********************************************************************

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    • Phil Bautista

      Thanks. I thought there was something wrong with my monitor. Good to know I’m not the only one who noticed this.

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  6. Justin Haugen

    If that lens had been the size of a 70-200 2.8 IS or VR, for Full-Frame, I’d have been all over it >_<

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    • Phil Bautista

      If you shoot APS-C, that would give you an FOV equivalent to 105-300. This lens comes closer to the industry standard with a 75-150 mm equivalent. BTW Sony just announced a 70-200/2.8 OSS for full frames so you might want to look into that one.

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    • Phil Bautista

      Sorry. My advice wouldn’t work so well if you don’t shoot Sony. But Canon, Nikon, Sigma and Tamron do have 70-200/2.8 stabilised lenses that you might want to check out.

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    • Justin Haugen

      Phil I think you’re missing my intention. I have a 70-200 2.8 VR. What I would like is a full frame 50-100 1.8, and I would accept it being as large as a 70-200 2.8 VR to have it.

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