If you are a videographer or vlogger, this lens should definitely be of interest to you. This is a great focal length, in either Super 35 (full APS-C frame – 24mm full frame equivalent) or 30P crop mode (where it frames a little tighter – probably closer to a 30mm full frame equivalent via a roughly 1.8x crop factor), and will give you quality footage with great detail and quality autofocus. The footage is noticeably sharper than average, and I fully expect this lens to be a favorite with videographers. These lenses provide an angle-of-view equivalent to a 24mm, 45mm and 84mm lens in a 35mm system. Each one offers a very bright f/1.4 maximum aperture and an iris diaphragm with nine rounded blades for excellent low-light and shallow depth-of-field shooting. Visit us and you'll always find a friendly welcome. Our policy is to treat our customers as we would like to be treated ourselves, a simple ideal that we try hard to live up to. Chromatic aberrations, typically seen as purple or blue fringes along contrasty edges, are more of a problem with the Sigma 16mm and 30mm than with the 56mm F1.4 DC DN C. Chromatic Aberrations - Sigma 16mm F1.4 DC DN C The Sigma 16mm f/1.4 lens is one of three new EF-M prime lenses now being offered by Sigma (including a 30mm lens I reviewed here). For Canon users looking for EF-M lens options, the Sigma lenses couldn’t come at a better time, because Canon—for whatever reason—has never expanded their EF-M lens lineup with anywhere near the breadth of their full-frame EF lens options.

Sigma 16 mm f/1.4 (C) AF DC DN Lens for Canon EF-M X Mount

One nice touch that I’ve seen on some of the ART series lenses and that is included on the 16mm DN lens is a rubberized transition zone on the included lens hood right where you would grip the lens hood to loosen or tighten it. It’s that kind of small attention to detail that impresses someone like me who sees a lot of lenses. TheSigma 56mm F1.4 DC DN C isn't claimed to be a macro lens, but it delivers reasonable performance nonetheless. It has a minimum focusing distance of 50cm / 19.7in and a maximum magnification ratio of 1:7.4.With Canon now concentrating most of their R&D efforts on their full-frame mirrorless camera range, and on continuing their DSLRs for at least the near future, we wouldn't be surprised if the EF-M 32mm is the last APS-C lens that they release for quite some time. Save yourself some trouble and just shoot with the lens in APS-C mode. There aren’t really any benefits from doing otherwise. For about a year now, I’ve been filming all my travel vlog content using a Canon M50 with a Canon 11-22mm EF-M variable zoom lens. As much as I like the 11-22mm, I’ve unfortunately been bitten more than once by its small f/4-5.6 aperture. Not a problem when shooting video outdoors in plenty of light, but in low light, I’ve had to raise the M50’s ISO super high to compensate which causes footage to lose sharpness and display noise. The Sigma 16mm, 30mm and 56mm F1.4 DC DN C for Canon EF-M lenses are exactly the same in terms of their design, construction and features as the versions for Sony E-mount and Micro Four Thirds, just with a change of mount.

Sigma 16mm f/1.4 DC DN Contemporary - Canon EF-M Fit

Therefore the recent introduction of three F1.4 primes by Sigma is great news for Canon EOS M owners who want to move beyond the capabilities of the zoom lenses that they initially bought with their camera body. Sigma says this, “ The optical design and stepping motor deliver smooth autofocus during video shooting. The lens design fully accommodates the Fast Hybrid AF of Sony E-mount cameras for super-fast autofocus functionality. Using face recognition AF results in consistent autofocusing on faces, even as the subjects move.” In other words, the 16mm DN supports all of Sony’s new bells and whistles on their newer mirrorless bodies. But what the Canon 11-22mm’s Image Stabilization? Does it produce better footage than the Sigma 16mm which does not have IS? Sigma’s approach to mirrorless lenses (DN) has come in two distinct phases. Sigma first released a series of three budget primes with moderately wide apertures (19mm, 30mm, and 60mm f/2.8 DN lenses). I’ve tested all of these, and they are actually surprisingly good little optics, with nice color, quiet focus, extremely compact size, and a bargain price. Though they look nothing like the other ART series lenses, they were, ironically, badged as ART lenses. In 2016 Sigma launched a new mirrorless lens, the Sigma 30mm f/1.4 DN DC. Though it shared a lot of design elements with the SLR ART series primes (similar body style and materials), along with the wide maximum aperture that ART primes are famous for, it was, ironically, badged a “Contemporary” lens. As a result, Sigma’s approach to mirrorless branding is a little like Alice’s “Through the Looking Glass”, where everything ends up somewhat upside down. The Sigma 16mm f/1.4 DN lens certainly looks very much like an ART lens!I ran the Sigma 16mm and the Canon 11-22mm lens through a low-light test to see their relative ISO performance. I set the Canon M50 to Auto ISO, then slowly opened-up the aperture. By the time I reached the Sigma’s maximum aperture of f/1.4, ISO had dropped all the way down to 200 — far lower than what the Canon 11-22mm could ever dream of achieving. The result? Far less noise, soft depth of field, and a surprisingly sharp image with superb highlight roll-off and color. Autofocus performance