Sigma 15mm F1.4 DG DN ART Diagonal Fisheye Review | An Extreme Lens with Extreme Performance

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Sigma continues to be one of the most daring companies out there when it comes to lens
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design and their newest lens is maybe one of the most extreme yet. The 15mm f1.4 DG DN
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art and this is a diagonal fisheye is really kind of a niche of an already niche market
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It's the first auto focusing fisheye lens on Sony, I believe on L-mount as well. It's also
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the world's first frame diagonal fisheye lens with an f1.4 maximum aperture. As you can see
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that means that it's also beastly big, weighs three and a half pounds and it cost a whopping
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$2,000. So is this extreme instrument a kind of lens for you? Well we'll find out in today's
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review right after a word from our sponsor. Today's episode is brought to you by the
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has a high visibility reflective finish that allows you to easily see what's inside even in
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and the removable straps use a Fidlock system to easily and securely connect them. I've been
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out and use code Dustin20 for 20% off when you're ready to check out. So the first thing to know
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about this lens is that it has an incredibly wide 180 degree angle of view. I wanted to take a shot
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of my feet. I was standing in the middle of a bridge that's about 12 foot wide and you can see
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that just aiming down towards my feet I not only had my feet but I had all the width of the bridge
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and the rails on either side in the frame as well and so it is incredibly wide. It's nearly 50
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degrees wider than what the Laowa AF 10mm f2.8 that I just reviewed because that lens is a
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rectilinear lens and so it is incredibly incredibly wide. I think that we can at least give some credit
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for this lens existence to the fact that Sigma already made the 14mm f1.4R. As you can see from
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this photo these lenses are virtually twins when it comes to their physical design and I suspect
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that there is some shared engineering not just in the outer shell but probably some of the inner
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working as well that allowed Sigma to leverage their engineering time and tooling to able to
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produce two lenses and maybe you know between those two being a little bit more niche lenses
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earn enough to justify the investment of time and energy into developing these lenses. Now the fish
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eye lens is very slightly larger and heavier but they are very very similar in just about every
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outer detail. Now this is a diagonal fish eye and so rather than being a circular fish eye where you
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get a circular image with some of the you know the rectangular frame just blocked off this will
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fill the frame and in fact you can really control the amount of distortion that you get by how you
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compose your subject and also how much you tilt the camera. So for example in this shot where I
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composed a horizon in the middle of the frame, the horizon is pretty straight. All it takes is just a
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little bit of a tilt up however moving the subject higher in the frame more towards the edge and very
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quickly you end up with that you know very circular horizon line. Now as noted this is a heavy lens
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it weighs in at 1400 grams or 48 ounces which means it's heavier than a lens like the 70-200 f2.8
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sport that Sigma recently released and they have attempted to try to keep the the weight moderately
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down but I mean this lens it's made up of a mix of some metals and then what they call thermally
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stable composite which is high in engineered plastics and so whether or not they try to keep
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the weight down or not this is still a heavy lens and you will notice it by the way out in the field
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that it feels hefty as you are carrying it out and of course unlike a 70-200 which is a longer more
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slender lens a lot of the weight is concentrated right here and so as a result of that you do have
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a tripod collar so again that's a shared design philosophy with the 14 millimeter f1.4. By the way
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this is a removable tripod collar they do include a rubber sleeve that you can put over the top of
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the exposed kind of metal screw points that are on there underneath that tripod collar but you can
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put that sleeve on if you don't want to use it. The tripod collar itself obviously you can rotate it
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there are some detents at the cardinal positions and it is arca swiss compatible in the foot
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I did find because of this actual design that when I was just carrying the lens on a strap out hiking
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it just tended to bump and rub in very uncomfortable ways so I actually rotated the tripod foot out of
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the way. You can't remove it altogether if you're in a situation like that. The one other thing that
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I will say about this particular tripod foot same as with the 14 millimeter f1.4 is that it is really
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really close to the barrel and so if you're accustomed to kind of carrying a lens by the
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tripod foot you can pretty much forget that here there just isn't really enough room to hang on
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and for that matter if you're in the kind of straight up and down position kind of the default
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position there is hardly room to get at the de-click switch for the aperture that is there
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and so it the tripod foot and collar it is useful obviously for going onto a tripod it helps the
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balance point to be better but at the same time it is inconvenient in some other situations
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Now you can see up front that we have a very large curved front element here and so what that means
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and there's also a fixed lens hood so what that means is that number one the lens cap has to go
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over the top of this although it is a unique design with a pinch cap it also means that there is no
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room for traditional screw-on filters here. Now at the lens mount there is a gel filter holder
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there and then also in that lens cap there is actually a place to store a couple of gel filters
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in there it's a little bit of a weird arrangement but it is it is an option that is there. The lens
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as Sigma's better lenses do does come with a nice padded nylon case as well. Now when it comes to
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some of the other features here this is a very feature-rich lens and so we have got an aperture
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ring and we've got a variety of options with that we've got the ability to de-click the aperture if
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so desired we also have the ability to use an aperture lock if you you know for example if you
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don't want to go into the automatic mode you can lock yourself out of that and lock into the
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aperture mode or if you hate aperture rings you can just put it in automatic mode and you can
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lock it in place there and once the lock's in place you will not be able to come out of that
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without unlocking it and so it means you're not going to inadvertently enter into a manual
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aperture setting and so some nice options there we also have an AF-MF switch we have a focus hold
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or custom button there on the side and you can program that function within the camera and then
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in a unique Sigma feature we have got an manual focus lock and so that can be really useful for
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example for astrophotography allows you to pre-focus the correct distance for the stars
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lock that in place and that way when you go outside you've already got an infinity
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focus ready to go and you can be sure that you're getting accurately focused results
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for your shots at night other applications as well obviously but that is a useful feature to
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have we also have a thorough weather sealing here starting with a gasket at the lens mount
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internal seals at the switches and the rings and then a coating on the front element to help
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it to be both water and oil resistant for fingerprints easier to clean all of those
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things the aperture iris itself has 11 blades and so it helps to maintain a circular shape but I
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will note it also produces a really nice looking sunburst or sun star effect when you stop the
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lens down so overall this is a really nicely made lens it is you know professional grade in terms of
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the build quality in terms of the various features that are here this has everything that you would
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expect on like an equivalent sony g master lens and so it is a it's a very nice lens but it is
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big and heavy and of course it is expensive so let's talk autofocus autofocus here is utilizing
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sigma's newest and best high-end autofocus system they call it hla which stands for high
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speed linear actuator it is a high speed linear motor and in this case although sure there are
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some large elements in a design like this an f1.4 lens it's probably overkill here because
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with a lens with a this wide of an angle of view a lot's going to be in focus all the time and so as
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a byproduct I found that focus switches focus changes are basically instantaneous just snapping
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from one to another autofocus is quiet it's confident zero problems there had no problem
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locking on to eye detect on either human or animal subjects I was able to track that fine
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at this point I'd be shocked if a lens doesn't do that because that has become such a well executed
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piece of technology now on the video side of things the video af is really really reactive
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now that's probably great because I think one application for this lens could be in doing like
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extreme angles of sports you know skateboarding or things like that and so autofocus even in video
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mode is really fast now for doing just basic focus pulls from one to another it's almost too
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fast now you can detune that a bit in the settings of your camera if you so desire but there's plenty
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of speed there for doing focus changes you can see here with my hand test you see that a bit that the
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the focus goes so quickly from my hand to my eye that it's almost a bit abrupt there is a little
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bit of focus breathing too that draws attention to that but autofocus here is extremely capable
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this is in this case I would say almost an overpowered autofocus system which is much better
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than an underpowered autofocus system by the way but you're not going to have any issues with that
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so it does mean that you know sports photography is part of the equation here I think this lens
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is perfectly capable of now on the image quality side of the equation we have 21 elements in 15
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groups so that's obviously a lot of elements for a prime lens and that includes four FLD elements
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three SLD elements and two aspherical elements and so a lot of exotic elements in the design
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as well now obviously a lens like this is so extreme that doing my normal kind of chart
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testing is impossible if I try to get close even close up to the chart you can see that it looks
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something like this in fact in testing for vignette and distortion I use my garage one of
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my garage doors and this is a 16 foot wide garage door I was about a foot away from it and still it
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has so much in the frame that I actually had a little bit of of the the frame of the door itself
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in there it's just it's incredibly wide angle of view and so in testing however I found that I
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had less than two stops of vignette by the way I will do a detailed optical breakdown at the
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end of the episode if you want to stay tuned for that but I'll give you a quick overview here
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so under two stops of vignette the correction obviously as far as correcting the distortion
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you're not going to be able to do that I'm just using the slider it wasn't capable of doing that
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with a but there is a profile that Sigma will provide for the lens it actually defishes the
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lens so as you can see you lose a lot of image but you're able to get back to a fairly much a
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rectilinear angle of view and it's it works a little bit better on a less extreme image like
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this landscape shot here and so I mean there I think there's a little bit of cost for doing that
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but it it does quite a good job as you can see which it does add to the value of the lens
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fringing is extremely well controlled you can see in this shot within my barrel sauna there's some
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real high contrast areas and even at f1.4 I didn't see any kind of fringing around those areas I also
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found that when I was looking at the edges of the frame and there's going to be a lot of stuff in
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the edges of the frame with the lens like this that they're in bare branches and high contrast
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areas zero problems no lateral chromatic aberrations there as well in this case I used
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an outdoor test and I shot at 100 still 61 megapixels lots of resolution but trying to go
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to 200 in real world scenarios it doesn't work quite as well as with my test chart but what I
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did find is that even at f1.4 there is certainly sufficient sharpness all across the frame it
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improves a little bit at f2 proves more noticeably by f2.8 and there you basically stay the same from
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f2.8 through f8 and with just a little slight degradation at f11 results stay really strong
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after f11 diffraction will soften the image a little bit now obviously a lens like this is not
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good at drawing something close to it so for close-up work it's not amazing you can only close
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or focus as closely as 38 and a half centimeters and you get a very very low 0.06 times magnification
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now up close performance is a little bit softer doesn't have as much it's not optimized for that
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kind of focus distance and so stopping down to f2.8 very radically improves the amount of contrast
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that's available however you can get a decent amount of bokeh here and in this kind of unique
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shot of Nala you can see that the background is reasonably creamy there and so if you can get
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close to a subject you can get a fairly blurred out background though obviously that's not really
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why you buy a lens like that it's maybe a nice extra for some unique and creative type shots
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however more important is that this lens has amazing flare resistance and that's really key
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in a lens like this where it's going to be very hard to keep bright lights out of the frame because
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so much is in the frame but i found very very minimal impact for having the sun in the frame
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even very bright very directional sun zero problems with that so i was very impressed with that and
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this lens is being marketed by Sigma largely for astrophotography and so importantly there i found
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that common performance was good and there is minimal kind of coma smear in the edges of the
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frame and so that's very very well managed as well and so if that's a reason why you would consider
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a lens like this you can know that it actually does perform well in that regard so in conclusion
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obviously this is an extreme lens and it's for a very niche audience who is that audience well
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according to Sigma it's astrophotographers for one i would say also good application is maybe
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concert photographers those that are working in lower light situations that want kind of the
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extreme options and unique look that can be provided by a fisheye type lens and so it can
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be very useful and professional applications for that i would say that sports is also a nice option
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the fact you have such quick autofocus does help in that regard and allows you to get maybe more
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narrow depth of field shots or shoot in lower light conditions and still get a reasonable shutter
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speed for stopping action so it could be another useful application for that for most people however
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this is a curiosity it's an extreme instrument that is technically impressive and it is technically
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impressive what Sigma has done here but it's probably too big and too expensive to appeal to
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most people however for those that actually could use it and can use it well i suspect that this is
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a lens that they will have a lot of fun with and that that happens to be you there's nothing that
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i took away away from besides the obvious that it's big and it's expensive everything else about
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the lens is it's pretty fantastic now if you want more information you can either look into the
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description down below and get linkage to my full text review there's also links to an image gallery
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there along with buying links and now stay tuned if you want the detailed breakdown into the optical
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performance so let's start by taking a look at that 180 degree wild angle of view so in this shot
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just out of curiosity i just reached my arm back with the camera and i took the shot while driving
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and so you can see obviously i can't reach back very far and yet everything inside of my the front
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of my truck is included including the side windows likewise in this shot that i mentioned earlier i
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was just pointing down towards my feet and in this case the bridge is about 12 feet apart here it
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looks like it's quite narrow but this is a very wide space and you can see that not only is the
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two edges of the bridge included but all the way up these rails is included and of course quite a
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distance ahead of my feet included there as well so it is really incredible how much gets in the
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frame now with a diagonal fish eye you do have a lot of control over how much distortion is going
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to be there so you can see here just by changing the composition by in the center if i put my
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subject in the center of the frame and hold the camera basically straight you can see that i've
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got a almost straight horizon line but by tilting the camera up just a little bit here by that moves
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the subject up and introduces a little bit of tilt to the camera you can see that already we get a
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pretty extreme curvature going on to the horizon line and of course if i moved it up even higher
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that would be even more extreme now the nature of this lens means that i can't use test charts so
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much and so i'm going to be relying on real world shots to try to create the various situations that
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i can test these things so in this case i'm looking for fringing specifically looking for
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longitudinal chromatic aberrations before and after the plane of focus so we can see in this
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very high contrast transition zone no fringing there also very interestingly along here and then
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also around the edges of this window these are all areas where i would anticipate seeing fringing
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and you can see that they are extremely well controlled so a great job there and in a lens
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like this you're going to get a lot obviously a lot of stuff in the frame all the time and so
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obviously there's going to be a lot of edges and so including these bare branches so i'm very very
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impressed by how little lateral chromatic aberration is here it's it's basically perfectly
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controlled no issue with fringing near the edge of the frame in these transition zones at all so
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really really high marks on both of those areas so as mentioned earlier trying to get a subject
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where you can test a subject that is big enough and flat enough to be able to test for something
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like vignette is difficult so i used my garage door here which is i measured it's just right
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under 16 feet across you can see that even though setting up right in front of it i still got other
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things in the frame you know a little bit of concrete beforehand a little bit of the the
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frame at the top of the door here but it's about as good as i could find for getting a flat surface
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for this so obviously when it comes to distortion distortion is part of the equation here and in
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fact if i try to use the light room slider to correct for the distortion you can see that even
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maxing it out it is reduced but there's still a massive amount of distortion that is left
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but as far as correcting for the vignette i was able to do that by just introducing a plus 45 and
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so less than two stops so that's not bad at all now i was surprised when i used the profile that
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sigma sent me which will be freely available that it actually de-fished the lens though it there's
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a little bit of complications that come with that we'll get to in just a moment so uh what
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you can see here is that now we have a rectilinear design without any kind of vignette and fairly
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straight lines now obviously you've lost a lot of image but i think you're probably still pretty
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close to what a normal 15 millimeter lens its angle of view would produce and in fact the amount
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of image that's lost was a little more exaggerated there because of the extreme amount of distortion
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from being so close if you're a little bit more of a distant subject as we've got here you can
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see that sure we have lost a significant portion here at the edges of the image but it's not nearly
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as severe as what we saw there on the garage door so what you can see here is that you're not going
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to eliminate like this is not a distortion here this is more kind of a keystoning effect just
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because the lens is tilted up somewhat and so as a byproduct the lean is not going to go away but
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what we can see is that the curvature of everything has gone away so that fisheye type distortion is
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gone now what's interesting here is that if i cycle through my information here in lightroom you
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can see that the full size image this was shot on the alpha 1 is 8640 by 5760 now on the right it
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says it's still 8640 by 5760 even though obviously we have cropped off a significant portion of the
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image due to correcting that so that intrigued me and so i dived in here and what i find and
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what my theory is here is that after the profile is applied the image seems to be scaled back up
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because what you can see is at a pixel level it's not really as sharp and as high contrast as what
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it was before so there is a little bit that is lost through that process now i think it's more
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exaggerated on the edges as we move back towards the center of the frame i don't see that anymore
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but you can also see that the scale is not nearly as severe and so that effect is taking place here
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and here those this is you know it's about the same size if we move over here this is obviously
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much larger and so there's a portion of the image that has been you know stretched and corrected and
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then i think scaled back up and so anyway it's a little bit of a weird bit of trickery going on
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however it is a nice option because you are obviously getting the ability to have a d fish
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version of your images as well now in this case i'm actually going to examine images at a hundred
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percent i couldn't use a chart so i'm going out into the real world and trying to look at real
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world images at 200 percent in the lesson controlled environment it just doesn't work as well
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so i've got f 1.4 on the left i've got f2 on the right so let's take a look starting in the center
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of the frame to see what we see so first of all you can see that the lens is very sharp even at
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f 1.4 in the center of the frame we can see that as we stop it down the contrast does pick up a
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little bit at f2 and you can see in areas like this uh old wagon wheel here you can see that it's
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a little crisper and better defined now if we pop over to the edge of the frame we see basically a
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similar story looking at the vehicles here you can see already i mean there's lots of detail and
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contrast there the image is obviously a little bit brighter we've removed some vignette and i
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think that some of the textures are just a little bit crisper as a result not a whole lot of
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additional resolution i wouldn't say but a little bit better contrast and i would say a little bit
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better definition in some of these areas both due to some of the shadows lifting somewhat
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from the vignette but then also i think that the textures are just a little clearer there
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now there's actually a more significant jump from f2 now on the left to f 2.8 on the right and if we
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come back down here we can see on the right that textures are you know crisper still contrast is
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better defined you can see even in this snow area here that it's just better resolved here along the
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edge of the frame moving into the vehicles and these plants better resolved and then as we come
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back towards the center of the frame we can see again like this area is definitely crisper still
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and i'll go to the other side just so you can look there look at the mailbox you can see it's
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better defined and as we move off towards the edges here just a little bit more detail in
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everything now more traditional landscape apertures of f4 and f 5.6 frankly i don't see a
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lot of difference after f 2.8 things stay pretty consistently uh the same from f 2.8 all the way
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through f8 you can see that f8 continues to look fantastic f11 is still very good but you can see
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it is very slightly softer due to the effects of diffraction and so we're starting that cycle now
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towards losing some detail and contrast due to diffractions effects that difference is actually
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more pronounced in that final stop from f11 to f16 where diffraction is really starting to
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play havoc there and the image is still usable as you can see but it is considerably softer
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than what we see over here at f11 all of these textures you can just see that there's less detail
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in them you know look even in the amount of contrast on the car from left to the right side
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and over here you can just see that we are starting to lose information though i would say
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this lens is usable throughout its zoom range though i personally would keep it at f11 as a top
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now as noted previously our maximum magnification is really low on this lens but also if you're
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going to shoot up close it is nice to use a little bit smaller aperture than f1.4 the lens as we saw
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is really sharp at infinity to f1.4 it is softer when you're up close and you can see that there's
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a pretty radical difference between f1.4 and f2.8 in terms of the contrast on the image and and so
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i would definitely if you want detail when you're up close i would stop down a little bit you can
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however create some really uniquely either wacky images using that distortion creatively as i've
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tried to do here but you can also see the quality of the bokeh blur is actually pretty decent for
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a lens like this you would never expect a fisheye lens to be one producing bokeh but you know this
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is an extreme unprecedented instrument here in this shot here there's less kind of extreme
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exaggeration there you can also see however that at f1.4 it's it's usable but the contrast is
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reduced here at that closer focus distance here's another shot to look at the bokeh quality and so
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once again up close this is only at f1.4 and so you can see that you know the the contrast isn't
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amazing but the quality of the blur is pretty good flare resistance was very impressive and
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again it's very important in a lens like this because it's such a wide angle of view 180 degrees
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means that you're going to have bright lights in the frame and so i could move the sun or the kind
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of reframe with the sun in different positions this is at f1.4 no issues at all and then if i
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begin to stop the lens down you can see that even at smaller apertures there was no issue there i
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composed here again this is f11 there's a little bit of a ghosting artifact here not bad at all
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however in this shot here you can see that we've got a nice sunburst effect going on and also the
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flare resistance is quite good here's a shot at f1.4 and you can see the sun's right there in the
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frame a different kind of image you can see the contrast is held up perfectly and because we're a
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little bit further away that detail there is fantastic now perhaps most importantly for this
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lens is a look at coma now this lens has a lot of really important strengths for shooting
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astrophotography number one coma is extremely well controlled look how crisp those star points there
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in the center but then if i pan off towards the edge they're almost as sharp right in the corners
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of the frame that's really really impressive another advantage to this particular lens is
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the fact that vignette is quite low even at f1.4 that means you're not introducing a lot of noise
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and correcting for that vignette and then also the fact looking at this image now obviously this is
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not a peak astro night the moon was still quite bright but it was the only clear night i had during
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my test period and it was cloudy before the morning came but anyway i shot this image f1.4 this is only
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iso 800 and a shutter speed of of two seconds so that means i'm completely eliminating the
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possibility of any kind of stretching of the stars light trails forming i'm able to freeze
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that quickly and also i'm keeping the iso down and so there is little noise in the image which
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produces a better end result here's another shot here and i just wanted to quickly demonstrate
28:14
the different ways you can approach so obviously here once again you know star points look fantastic
28:19
that's all good i also have the option of doing that d fish option and recomposing to get a
28:24
rectilinear image obviously there's less in the frame that could be a good thing however depending
28:30
on you know whether how much you want to be in the frame but you can see that while there is a little
28:35
bit of stretching at the corners from that d fishing it still is very very usable and so as
28:41
a byproduct that's a nice secondary option for doing astrophotography overall however this is a
28:47
really really impressive instrument if you're serious about astro hey you've made it to the end
28:52
thanks for watching have a great day and let the light in

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