![]() ![]() It takes standard size 72mm filters and comes with a petal lens hood that uses Canon's more modern push-button release. 11 elements in 9 groups in the old version, and the difference is well worth the extra weight, as you'll see. The new lens has 14 elements in 11 groups vs. heavier than its predecessor, coming in at a surprising 26.8 oz., but I appreciate the extra heft in a relatively short lens, as it balances quite nicely on a full-frame body like the 5D Mark III. The single switch (AF/MF) is flush-mount, increasing the lens' ability to mold to the hand, while the focus ring is large, well-gripped, and smoothly damped with a nice throw (about 150 degrees). I also find that it makes for a better grip, which is why the 100mm Macro f/2.8L IS is another favorite lens of mine. I was pleased that this lens using engineering plastic over metal, as this reduces the weight and is just as strong. #SIGMA 35MM 1.4 CANON FULL#While I'm hesitant to take any piece of equipment in a full downpour without additional protection, I would have no qualms about continuing to shoot with it in a variety of conditions, an especially important distinction given the do-it-all nature of this focal length. Being based in Cleveland, I was caught in light rain (and snow) several times while shooting with this lens and it continued to work without a thought. It includes weather sealing (as with all such Canon lenses, a front filter is recommended to complete the sealing). Build Quality and ErgonomicsĪs we've come to expect of Canon L glass, the lens is hardy, well-manufactured, and fits the hand well. In particular, with the second version of the lens coming in at double the price of Sigma's already great offering, could it make a compelling case for dropping twice the cash? It turns out that Canon has made a pretty good argument. ![]() In fairness to Canon, the original 35mm f/1.4L was released in 1998 so, I was quite curious to see what 17 years' worth of technological advancement could bring. And thus, another third-party lens was in my kit. #SIGMA 35MM 1.4 CANON UPGRADE#Just as I was about to upgrade to the EF 16-35mm f/2.8L II, along came the Tamron with a lower price, great sharpness, and the distinction of being the only wide-angle, f/2.8 zoom with vibration compensation. My EF 17-40mm f/4L was getting a bit long in the tooth, and I needed another stop for wedding work. Then came the Tamron 15-30mm f/2.8 Di VC USD. Nonetheless, it's sharp enough, affordable enough, and hits focus just enough to earn its place in my bag. And after all, it's a little frustrating to have a lens that looks that good at f/1.4, but that I can't always trust to nail focus at that aperture. I'm always just a little worried about using it for wedding receptions, because it'll often claim it's focused, only to disappoint me when I sit down at the computer hours later. However, like most Sigma users, I've come to accept that the Art line generally means sharp, contrasty images, with commercial drawing, but a less-than-stellar AF system. I picked one up, and it hasn't left my bag since. Thus, I was always a little reluctant to try out third-party lenses, but when the Sigma 35mm f/1.4 Art came out, I couldn't ignore the fact that Sigma had created a sharp lens with a lot of character for about half the price. They have some of the most unique lenses out there, like the EF 11-24mm f/4L and the 85mm f/1.2L II, which appeal to my geeky side with their extremes of technical accomplishment. More generally, I know that with their color rendition, contrast, and autofocus performance (though the 85mm leaves me wanting there), I don't have to worry about getting good shots out of them. ![]()
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