A new announcement comes from within the Vitec Group: The new JOBY Wavo, a mic for Vloggers. This ultra-lightweight microphone (40g/1.4 oz), with compact dimensions of (HxD) 9.3cm x 7.1cm (3.6 x 2.8in) just entered the stage on February 29th and is available now. It comes with a one year warranty, has a frequency response from 35Hz-20kHz, and a 78db SPL Signal to Noise Ratio. The Wavo is supposed to reach Consumers, Mobile Creators, Podcasters, Vloggers and should combine well with mobile phones (like the Apple iPhone 11 Pro/Pro Max), legacy DSLR’s and mirrorless cameras.
JOBY Wavo with GorillaPod flexible mount (Credits: Vitec Group / JOBY)
JOBY Environment – Family & Pairing
The Wavo (JB01675-BWW) Super-Cardioid polar pattern mic forms a new product family together with the Wavo Mobile (JB01643-BWW) Cardioid mic.
There are various available pairing options with pod, rig and stand solutions that JOBY has to offer already. These include the GorillaPod Mobile Rig (JB01533-BWW), the GripTight PRO Telepod (JB01534-BWW) and every other product with a Cold Shoe attachment. It also comes with a 1/4 20 mount for direct attachment to audio stands. With two cables, TRS (Camera) and TRRS (Mobile) already in the package, the Wavo offers multi-device support, unlike some of its competition that sometimes only ships with one of these solutions.
JOBY Wavo (JB01675-BWW) with family and pairing options (Credits: Vitec Group / JOBY)
JOBY Wavo – Isolation, Materials and Directionality
The Wavo consists of the materials Hytrel®, ABS (Acrylonitrile Butadiene Styrene) and PU (Polyurethane). The ABS body provides the product with durability. The Hytrel® Double Point Duo-Lyre® is a concept by a team within Rycote. Like Joby, Rycote is also a member of the Vitec Group and provided the product with this engineered design to isolate or diminish unintended vibrations or shakes. This Hytrel® Thermoplastic Elastomer thereby detaches the microphone a little bit from the camera or support that holds it, which would otherwise straightly transfer movement, handling noise or vibrations to the mic. For extended ambient noise reduction, a foam windshield that helps to reduce distractions and get a more precise reproduction of the voice is in the package as well. (By The Way, if you recognise this microphone shock observer part from Rode microphones, it is worth mentioning that Rycote is the one holding the patent for it and Rode is the one to licence using it).
Some of the main aspects when using such microphones as a vlogger are its unidirectional and shock-isolated characteristics. Such a mic empowers the user not to rely on often spherical sound and potentially lower-quality in-built microphones that ordinarily capture more surrounding distractions and ultimately noise or irrelevant audio. It is principally aimed at focusing and isolating the vlogger’s voice from the crowd.
JOBY Wavo attached to a headlight on Sony A7II (Credits: Vitec Group / JOBY)
JOBY Wavo – Pricing & Availability
The Wavo is available now has a price tag of $79.95, alongside the cheaper Wavo Mobile at $39.95 and offers substantial shock isolation as well as a tiny and portable size. JOBY thereby wants to compete with the already small and versatile RØDE VideoMic GO (73g; H 7.9cm x W 7.3cm x D 16.7cm; shipping for 65 EUR) and argues that the new Wavo is smaller and more compact in relation. The flexibility for interchangeable use within a wide range of JOBY products makes this product a viable solution for day-to-day vlogging in the entry-level arena.
JOBY Wavo DSLR & mobile phone setup with headlight (Credits: Vitec Group / JOBY)
What are your first impressions of the new JOBY Wavo? What are the types of projects you would use such a microphone in? Is this a product that would meet your expectations or professional standards?
Claire Mathon AFC won the Best Cinematography award at the Césars last night. The Académie des Arts et Techniques du Cinéma (like the French Oscars) honored her for her work on “Portrait of a Lady on Fire.” FDTimes article about the film here. Tags: Claire Mathon AFC, Large Format, RED MONSTRO 8K VV, Leitz Thalia primes, Preston LR2 Light Ranger… read more…
Here is a discussion with SIGMA CEO Kazuto Yamaki from last September.
He referred to the new SIGMA fp as “deconstructing a digital camera: “I’m always monitoring how professionals and enthusiasts use cameras. And, I became aware that they often use several different cameras depending on the occasion. For example, still photographers sometimes use a cinema camera, professional people use a smartphone or action cam, etc. Then, I thought it would be nice if we deconstructed the essence of each type of digital camera.” read more…
Let’s be honest. We’re all guilty of judging by superficial features. Chances are that even you have been so vain — comparing your figure to that of perfect strangers only to be left with a sulky sense of defeat. But don’t fret, you’re far from alone when you feel a tinge of jealousy (perhaps more than a tinge) at the sight of an Instagram account with over 100K followers, making yours look inactive.
At least you haven’t been so frivolous as to indulge in a petty confidence boost at the sight of a follower count in the low hundreds? Right?
Now that we’ve laid our transgressions on the table, it’s worth exploring the real value behind this otherwise innocuous number that has become canonized as a trusted badge of success — or lack thereof — in the mystifying realm of social media.
If being famous on Instagram pays exclusive dividends to the few professional photographers who have cracked the code, then we want to know how they did it. To shed some natural light onto the foggy peak of Mount Instagram, I decided to fly straight to the top for some first-hand reports on the view from above.
Upon my arrival, I caught up with a few photographers who manage accounts with eye-popping figures so as to become #InstagramEnlightened. First, I spoke with photographer Sara Hylton (@sarahyltonphoto), who somehow managed to gain another 4,000 followers in the time it took me to write this piece. Sara is an accomplished freelance photographer who has been in the Instagram game for over five years and, judging by the numbers, appears to have it all figured out. She has attracted over 100K followers to date by presenting stunning and engaging images that consistently leave her audience wanting more.
But let’s consider the devil’s advocate: in an environment replete with unfettered cuteness and exaggerated opinions, imagery alone is not enough to attract — and keep — droves of dedicated followers. As it turns out, Sara might agree with that outlook, so she has solidified a multi-pronged strategy that favors quality over quantity while producing a refreshing dose of authenticity.
Strong visuals go without saying. We are inundated with so many visuals every day, people posting pointless selfies and animal pictures. In order to grab someone’s attention and to keep your community engaged, what you post has to say something. Keep your captions authentic to who you are so people can connect with you as a real person. I think these days we are all craving a little more realness.
A healthy combination of less-is-more and keeping-it-real comprises the cornerstone of Sara’s Instagram strategy. By thinking of her work in terms of its intrinsic and enduring value, rather than the fleeting attention it might attract, Sara has curated an Instagram page that presents a comprehensive showcase of her work.
I see social media as another marketing tool. But the platform lends itself to a kind of portfolio that allows me to share ongoing/published work with my community and editors. It’s very important for me as a way to connect with folks in the industry — I think Instagram is used more than websites now.
With this astute philosophy, Sara has gathered quite a following. She has built a vast community of dedicated supporters scattered across the globe who regularly engage with her work. Each of Sara’s posts receives hundreds of likes accompanied by a slew of both flattering and insightful comments (there’s that jealous tinge again). Who wouldn’t relish such universal praise and encouragement?
But what about actual clients? Are any of these doting admirers looking to hire Sara?
I can count on my hand the number of jobs I’ve received directly through [Instagram], but the number of followers I have is sort of a quick gauge for editors and clients to see that I’m legitimate and that it will ultimately benefit them. I have a great community of followers which helps keep me engaged in a highly isolated industry.
Okay, so the payoffs may be less tangible when it comes to connecting with clients, but once connected, they will see the benefits of hiring her.
That lack of immediate benefits doesn’t faze photographer Stephen Matera (@stephen_matera), who has been blessing his followers with objectively gorgeous nature landscapes since way back in 2012 when the platform was more molehill than mountain. And he has the figures to back it up. Heck, Stephen even boasts the initials of a born social media aficionado while keeping his 155K highly engaged followers satiated with more than just the promise of bliss. Stephen brings his community behind the scenes of his enchanting shots with charmingly descriptive captions:
It’s not hard to see why Instagrammers en masse cherish a weekly postcard from Stephen. In one quaint paragraph, he has the ability to invoke visions of cozy fireside chats over steaming cups of CBD-infused tea. But, before you get too comfortable, don’t forget that strong imagery and engaging captions will only get you so far. Just ask Stephen:
The key for me was getting lucky a couple of years ago by becoming a contributor to the National Geographic Travel account, and their massive following (now over 35 million) has built my Instagram following. I think that is the best way now to increase your following. Work with a big account to get exposure for your work.
Ah. There’s that tinge again. But for those of us whose invitations from National Geographic may have gotten lost in the spam folder, there’s still hope. I’ll let Stephen explain:
Certainly, hashtagging and getting reposted on popular accounts helps, as does commenting and being engaged. I think it’s best to keep it positive and build a following organically, posting what you are passionate about (and good at). It’s easy to get caught up in the numbers game, but what is probably more important is that your followers are true fans of your work and really want to see what you’re creating.
Stephen’s philosophy is simple: Stay true to your craft and to who you are. His emphasis on the basics allows him to reach his audience on a personal level that fosters likeability and engagement. He doesn’t stray from his true nature and has succeeded in carving a path of his own through notoriously dense territory. So, with all of that talent, ingenuity, and opportunity, how has planting a flag firmly at the top helped Stephen’s photography career?
I think the benefits are not necessarily concrete and can be hard to pin down. But I think my Instagram following has helped raise my presence among my commercial clients, even though they are completely different genres. I don’t have any evidence of this, but I think a big following has helped my SEO for my website. I think the SEO algorithms must look at social media following as part of the rankings. I managed to get #1 (non-ad) ranking for the search term ‘Outdoor Lifestyle Photographer’ on Google in the past year or two as my following has increased, and I think that has had an effect.
There is little doubt that Stephen has received a significant amount of click-through to his website from Instagram, and this is clearly an effective conduit for digital traffic. As Stephen has expressed though, real-world output remains far less measurable than clicks on a screen, as the hazy barrier between virtual metrics and actual clients presents an added obscurity to an already unpredictable field. It appears that an uptick in traffic most often translates simply to an increase in attention or notoriety, while often falling short of producing work.
Some would even attest that social media stardom comes with a few drawbacks, occasionally making it more difficult to get clients. Photographer Philip Edsel (@edsel) explains that big numbers can also result in some unsavory associations:
[Instagram] has helped me in some regards, mainly because it has opened up doors to work with companies I want to partner with. I’m a member of Sony’s Alpha Collective (their “influencer” ambassador group) which has been an amazing opportunity for me. But as a professional commercial photographer, there is certainly a stigma attached to being an ‘influencer.’ Most of them aren’t professional photographers that know how to handle large productions and execute on big projects. I definitely don’t market myself as an influencer or lead client convos with my following on IG. In fact, I rarely mention it.
Philip employs an approach to Instagram that might sound familiar by now. He keeps his content genuine, purposeful, and high in quality in order to produce engagement. Philip emphasizes relevance while shunning the all-too-common practice of posting ordinary images with “cheesy captions.”
Bring something to the table. Talk about how you made the image, or what the image means to you, or something else entirely — just talk about something.
Like Sara and Stephen, Philip fully understands the importance of the caption. Too often, photographers treat Instagram as a purely aesthetic platform while neglecting to embrace the caption as an opportunity to pull viewers into an image. Whether a short description of what went into the creation of your work or a more in-depth discussion of a broader topic related to a shot, the caption is an essential tool to connect with an audience and reach viewers on a deeper level.
For those of us who find difficulty in crafting a cunning caption, I would suggest approaching the task with honesty and authenticity. Put yourself in your viewers’ shoes. Consider what you like to see in a caption, and, most importantly, offer something of value that will ensure viewers will want to read or see more. Philip also insists on avoiding some of the less-organic methods that many enlist in order to cut corners.
Don’t do anything corny. We see through it. Don’t follow/unfollow, don’t use bots to comment, etc. That stuff is obvious, but people still do it. Genuine engagement is really the only way forward on Instagram these days. There’s no magic bullet for growth, and anything that looks like a magic bullet is probably a scam.
As we near the end of our journey and make our descent from the dizzying heights of virtual stardom, we emerge with a clearer sense of the qualities of a strong social media presence and what it takes to attain them. With the insightful wisdom of our seasoned experts, we have ascertained some of the keys of social media success while determining that there are few — if any — shortcuts to the top.
Some common attributes shared by the talented and hardworking photographers I spoke with are worth noting. One of these defining traits appears to be a well-grounded view of social media as a useful tool (among many) in an ever-changing and challenging profession. Each of our gurus realizes both the benefits and limits to maintaining a trove of followers with a remarkably sober perspective. Each expressed a keen awareness of the value of hard work and real-world relationships while humbly embracing the accessibility that they had afforded as a result of on-screen popularity.
While few might suggest that social media has no place at all in the business of professional photography, we’ve found that the obscurity of this landscape produces an enticing mirage, luring us to honor the follower count as a measure of success. Naturally, as competitive instinct kicks in, we clamor for a higher perch on the hill with hopes of proving our worth among a crowded cohort of contenders. But it appears that what is far more important than a figure hovering at the top of a page is the sheer value that the site brings to viewers. When photographers master the art of bringing important content to viewers at a level far beneath the surface of pure aesthetics, they are naturally reimbursed in the currency of engagement. Alas, converting that engagement to a different type of currency has proven a less attainable feat.
One truism that we can be grateful for is the fact that we find ourselves in an era of unprecedented enthusiasm for the art of photography — with virtually unlimited access to boot. Photographers today have the ability to effortlessly reach beyond the confines of a once insular trade and into the palms of the masses. While this environment forcefully stretches the bounds of opportunity and capability for photographers and creators of all kinds, it also presents a plethora of new challenges and forces us to continually reshape our understanding of a timeless art form.
Finally, I will leave you with the insightful and inspiring words of Philip Edsel as he boldly professes from the summit:
The days of organic Instagram engagement at scale are over. Now it’s not about being first, it’s about being better at what you do. Make great work, show it, and interact with other people in your genre who will appreciate your work.
About the author: Cliff Willson is the a publicist and designer at Wonderful Machine, an art production agency with a network of 600 photographers in 44 countries. The opinions expressed in this article are solely those of the author. If you have any questions, or if you need help with your social media presence, you can give Wonderful Machine a call at 1 (610) 260-0200 or reach out via email.
“Northern Lights” is a new series of photos by French photographer Fabrice Wittner, who used stencils, light painting, and long exposure photography to combine historical portraits of Inuit people into modern-day polar night landscapes.
“The nocturnal and mystical mood created around an old Inuit imagery is enlightening the polar night to make us think of the fragility of a culture and its environment,” Wittner writes. “A matter we could be dealing with anywhere on Earth, a matter that is resonating with current ecological and climate issues.”
Wittner first found archives of portraits from old expeditions to Greenland and Alaska. He redrew the portraits onto the back of leather tarps before using a precision knife to cut out holes.
“This part can take long as the characters are sometimes very detailed,” the photographer tells PetaPixel.
Wittner then finds a location and frames his shot before placing the stencil into the scene (attached to a softbox and remote flash).
“What is crucial here, is the fact that everything is done on a single exposure from 30 seconds to 5 minutes,” he says. “When I trigger the camera, the flash pops, printing the stencil’s shape on the sensor. Right after, I put the cap back on the lens to remove the stencil from the frame. The exposure of the photo is still running at that time.
“I remove the cap from the lens then let it go long enough to get the correct exposure on the background. When the shutter finally closes, I have my picture with the enlightened character standing in a well-exposed landscape. I obviously calculate the exposure of the landscape in advance.”
Here are some of the photos that resulted from this technique:
Here’s a behind-the-scenes video showing how the project was done (it’s in French but you can turn on auto-translated captions):
“I could say these ghostly figures symbolize the conflict between ancient traditions and modern issues due to technology or environment matters,” Wittner says. “Like ancient memories coming from the past to witness the inevitable change of their world.”
The Chinese smartphone company Vivo has unveiled its new APEX 2020 5G concept smartphone. It’s a device that comes with a number of interesting photography-related features, including what the company calls a “gimbal-stabilizing camera.”
The back of the phone features a relatively thin dual-camera setup. The first is a 16-megapixel periscopic camera that features an optical zoom range of 5x to 7.5x.
On the bottom of the module is a 48-megapixel “Gimbal Camera.” Vivo says it managed to embed a tiny “gimbal-like structure” into the main wide-angle camera, providing twice the stabilization as traditional optical image stabilization systems.
“It achieves optical stabilization both in the front-back and left-right inclined directions, which largely keeps the integrity of the image,” Vivo says. “The design of this main camera also achieves stronger capacity for night photography.”
Engadget writes that the design of the stabilization system was inspired by the chameleon’s eyeball.
Another photography feature in the APEX 2020 is Instant Photobomb Removal. Using its powerful computing powers, the phone “can perform real-time image segmentation and background repair synchronously,” removing photobombers from your photos to keep your subject as the center of attention in the frame, even when backgrounds are busy.
The phone also features Voice-Tracking Autofocus. By combining image recognition algorithms and its three built-in microphones, one of which is dedicated to autofocus purposes, the APEX 2020 can keep focus locked onto subjects that are speaking within the frame.
On the front of the camera, the 16-megapixel selfie camera is hidden inside the 6.45-inch 2330×1080 AMOLED display. When the camera is activated, the screen area turns transparent, allowing clear photos to be captured.
Other features and specs of the APEX 2020 include 60W wireless fast charging, Android 10, Snapdragon 865, 12GB of RAM, and 256GB of storage.
The Vivo APEX 2020 is a concept phone that we’ll likely never seen in the real world, but previous iterations of this concept line have been good at predicting soon-to-come features in the world of smartphones. So get ready: we may indeed see some of these interesting ideas hit new phones on the market over the coming years.
Sometimes you know about two things in completely different parts of your brain, and then one day, for no reason, you put them together and your head explodes — a cascade of understandings like the last scene in “Usual Suspects”. After 40 years of taking pictures, that happened to me. One idea changed me overnight. And if you have a camera it will change you, too.
There is absolutely no doubt that it’s important to understand how your camera works if you want to take consistently great photos. Even with the powerful automatic (and artificial intelligence) built in, I would still say a photographer should understand the three branches of photographic government: shutter speed, f-stop, and ISO. They form checks and balances, and work together, to achieve your photographic vision.
But then there are the pesky “rules” of composition. I won’t argue here (but I will argue) that they are bogus — not that they are just inappropriate, but that they make learning to take photos harder, not easier. Every photographer ever (and I say that without hyperbole) will tell you that “you learn the rules, and then you can ignore them” and “they’re just a starting place”; I’m simply going a little farther and suggesting you discard them from the start. It’s the wrong way to approach photographic compositions.
Consequently, learning to take better pictures ends up being a hodge-podge of facts, rules that can be discarded, and pointless exercises. I love photography but have always felt something was missing from photographic education.
I have always enjoyed haiku. Haiku reminds me that there are many poetic forms — limericks and sonnets and so forth — and haiku is another, but it’s very constrained, very short. Strict rules. All poetic forms have history, but unlike others, haiku also has a philosophy. That makes it different.
Camera in the rain
Misty pictures, ruined lens.
Was it worth it? Yes.
My own photography felt like this — a poem with a series of rigid arbitrary constraints that I enjoyed playing within. Other people’s pictures were like other poetic forms. For me, I like uncropped, monochromatic, unretouched, horizontal aspect, etc. A certain camera, or type of film, is a creative constraint. Working within constraints is important, and haiku reminds me of this. Rigid constraints are a poetic form, a creative game, and can be part of the enjoyment of taking pictures. This was one aspect of haiku that resonated with the way I thought about photography.
Haiku is a Zen art — and so, increasingly curious, I began to explore other Zen arts. I was always drawn to bonsai trees, beautiful and cool and, like haiku, interestingly constrained. The more I read about these arts the more I noticed I could often substitute the word “photography” for whatever I was reading about, and it seemed not only to fit the way I thought about picture taking, but it added delight and insight.
And then I began to explore the Zen art of flower arranging, ikebana. There are many schools of ikebana, many aesthetic styles, some more rules-based than others. And what struck me was that ikebana was more instructive and applicable to photographic composition than any “golden mean” or “rules of thirds.” Ikebana speaks to weights and balances, proportions and harmony. Many of the skills felt related. It was then that I began to dive in more deeply. If my photos were like haiku, and if ikebana could inform photographic composition, what else could a study of Zen arts provide?
Over the following months, I began to study other temple arts, as they are called. Not just haiku, bonsai and ikebana, but kintsugi (fixing broken ceramics with gold), origami (paper folding), enso (the calligraphic drawing of circles), and the overarching philosophy around wabi-sabi. I’m not a master of Zen, but I could recognize how lessons from these arts fit neatly with my personal feelings about photography. They addressed questions like “what is worth photographing?” “why do we even bother taking photos?” “should I Photoshop or not?” “why should we print?” and even “what makes a photo beautiful, or good?” and so on.
I looked to see if other books and curricula already taught from this vantage point, and what I found was that books on “Zen and photography” were almost entirely about using photography to practice Zen — which admittedly is very cool. They speak of using your photographic practice to be more present, to be mindful, to see beauty, and so on. But what I’m suggesting is different: I am not aiming to help you practice Zen or reach enlightenment, I’m suggesting that Zen arts, in particular, can help you get better at photography. The philosophy forms an excellent foundation and gives rationale to otherwise disparate rules and approaches.
The Zen arts approach doesn’t address the technical aspects of photography. You still have to learn about f-stop and shutter speed. But even with automation, those awesome cameras won’t compose a photo for you, they won’t enlighten you about what to take pictures of or how to see beauty.
Many accomplished photographers get bored. And their pictures get boring. To avoid burn-out it can be good to have some structure. I believe I’ve found it, and I think it’s the first innovation (or at least “alternative”) in photographic education in ages, and ironically, it’s the oldest method.
P.S. I’m giving a couple one-day workshops in San Francisco in March to touch on these, and a 4-day intensive workshop later this year. And while I’m currently finishing a book on this topic, my interactions with beginners and amateurs is refining the curriculum — so please, I invite you to explore this with me and contribute to both the book and the courses. Zen arts, like photography, are a life-long pursuit. So no matter where you are in your path, from just starting to seriously advanced, I hope that this approach will help you grow and enjoy your photography more.
About the author: M.H. Rubin is the Founder and CEO of Neomodern, and host of the podcast “Everyday Photography, Every Day.” The opinions expressed in this article are solely those of the author. To see more from Rubin, visit Neomodern or give him a follow on Instagram. This article was also published here.
Most of us are excited about the new Tamron 70-180mm f/2.8 FE lens. But I bet not many of you know this…Source Wikipedia: Sony Corporation maintains a 12.06% share hold in Tamron, making it the second-largest shareholder below New Well…
Hands-on with Sigma’s APS-C primes for Canon at WPPI
Sigma’s DC DN EF-M primes have been the talk of the town for EF-M mount users for months now, but they’ve been in relatively short supply (we’ve only got the 56mm F1.4 in the DPReview offices so far). But during our time at WPPI, we got a chance to see all three in-person and find out how they balance on Canon’s latest APS-C mirrorless flagship, the EOS M6 Mark II.
Pictured above is the most compact of the three, and the most recently released – the 56mm F1.4 DC DN. Offering an equivalent focal length of around 90mm (remember, Canon’s APS-C crop is 1.6x), it’s a fantastic option for portraits. Actually, in the EF-M system, it’s really the only native option for portraits, though you can of course make do with the kit zooms or adapt DSLR lenses.
As you can see, the 56mm is light on external controls, with only a large, rubberized manual focus ring on the exterior that is smooth and well-damped.
Sigma 56mm F1.4 DC DN
Around the front of the lens is a 55mm filter thread, and down the barrel are nine aperture blades. The lens weighs 280g and feels dense without being heavy, and balances exceptionally well on the EOS M6 Mark II. It will focus down to 0.5m (~20″) with a maximum reproduction ratio of 0.14x.
The optical formula is composed of 10 elements in six groups, including one ‘super-low dispersion’ element. Unfortunately, there’s not much to see around the back of this lens. There’s no rear gasket for keeping out moisture or dust on any of this trio of lenses.
Sigma 30mm F1.4 DC DN
Up next is Sigma’s 30mm F1.4 DC DN. This lens is basically going head-to-head with Canon’s EF-M 32mm F1.4, but we don’t mind a bit of competition. The Sigma gives you a 35mm-equivalent focal length of 48mm, while the Canon gives you 51.2mm. That type of difference is unlikely to really influence your purchasing decision, though the Canon’s much greater magnification ratio (0.25x to 0.14x) and higher price point ($479 to $339) might.
In any case, the Sigma 30mm F1.4 balances quite well on the EOS M6 Mark II, being a bit lighter than the 56mm F1.4 but a bit longer as well. A well-damped rubberized focus ring is likewise the only external control.
Sigma 30mm F1.4 DC DN
The Sigma 30mm F1.4 DC DN has an optical formula of nine elements in seven groups, with one of those elements being aspherical and another being double-sided aspherical. There are nine aperture blades and the front filter diameter is 52mm.
We actually reviewed this lens back nearer to its release, and on a Sony APS-C camera, we found it to be excellent.
Last and largest is the Sigma 16mm F1.4 DC DN. It’s actually one-and-a-half times longer than the 56mm F1.4, and the heaviest of the three by 125g, or more than a quarter of a pound.
This lens is likely to be of interest to EF-M users, who up until now had only one native wide-angle lens at their disposal: the excellent (but slower-aperture) 11-22mm F4-5.6 zoom. This 16mm F1.4 should be a great option for lower light shooting, events, astrophotography and more.
It balances fairly well on the EOS M6 Mark II, but is a bit front-heavy. It’s not a very comfortable combination in the hand on Canon’s grip-less EOS M200.
Sigma 16mm F1.4 DC DN
Down the barrel, past the 67mm filter threads, we see a nine-bladed aperture, just like the other two. This should be great for creating 18-point sunstars in landscape scenes. In addition to being the biggest, it’s also the most optically complex of the group, with 16 elements in 13 groups, including a total of seven specialty elements, and it can focus down to as close as 0.25m (9.84″) for a maximum magnification of 0.1x.
Hands-on with Sigma’s APS-C primes for Canon at WPPI
And that’s it for Canon’s trio of DC DN F1.4 prime lenses, now becoming readily available for EF-M mount. We find that these lenses make an enormous difference in the appeal of Canon’s mirrorless APS-C system, but what do you think? Are you planning to pick any of these up for yourself? Let us know in the comments.