The Sigma 40mm f1.Four Artwork is a brief normal prime lens designed to cowl full-frame sensors and out there in Nikon F, Canon EF and Sigma mounts with native Sony E and Leica L variations arriving later in 2019. Introduced in September 2018, it’s Sigma’s 10th massive aperture full-frame lens within the renown Artwork sequence starting from 14mm as much as 135mm focal size.
On a full-frame digicam the Sigma 40mm f1.Four Artwork delivers a field-of-view that’s 10 levels wider than the usual 50mm lens (57 vs 47 levels) and seven levels narrower than from a 35mm lens. It may nonetheless be thought-about a “regular” lens as its 40mm focal size is certainly nearer to the 43mm diagonal of a full-frame sensor than a 50mm lens is. So pictures shot with this lens ought to produce a really pure and immersive perspective when considered from a regular distance (equal to the diagonal of the print or monitor/display). Apply it to an APSC crop sensor and the Sigma 40mm f1.Four Artwork delivers a area of view that’s equal to a 60mm lens. Mixed with a vivid f1.Four focal ratio it’s best for available-light use and also needs to ship shallow depth-of-field results and background blur which are barely higher than from a 50mm f1.Eight lens.
To seek out out whether or not the optical efficiency of the brand new 40mm f1.Four Artwork makes it a worthy member of Sigma’s Artwork line I examined it on a 46MP Nikon Z7 (with FTZ-adapter) and examine it in opposition to the Zeiss 40mm f2.Zero Batis and the Sony 35mm f1.Four ZA shot on the 42MP Sony A7R II physique.
Information from the catalog
As ordinary I’ll take a look on the technical knowledge of the Sigma 40mm f1.Four Artwork first. I’ve rated the options with a [+] (or [++]), when it’s higher than common and even state-of-the-art, a  if it’s normal or simply common, and [-] if there’s a drawback. For comparability I exploit the Sony 35mm f1.Four ZA and the Zeiss 40mm f2.Zero Batis (“Sony ZA” resp. “Zeiss Batis” for brief).
Measurement (diameter x size): With a diameter of 88mm (3.5in.) the size of the lens varies with the mount: with a Nikon F-mount it’s 129mm (5.1in.), with a Sony E-mount it’s 157mm (6.2in.). Put a Nikon FTZ-adapter on the F-mount model to shoot on a Nikon Z physique and you find yourself with 159mm size. The lens hood provides 50mm (2.0in.) and is 106mm in diameter bringing the full size to an enormous 21cm (8.2in.) in entrance of a contemporary mirrorless physique. It is a large lens even topping the monstrous Zeiss Otus lenses in size and clearly exhibiting its heritage as a DSLR design that has to deal with the bigger flange distances. The Sony ZA is just not a small lens both however at 79 x 112mm plus 37mm for the lens hood (98mm diameter) it appears small as compared. And the Zeiss Batis is even smaller at 81 x 87mm + 40mm for the lens hood (91mm diameter). [-]
Weight: 1177g (42 oz.) within the F-mount model plus 61g for the lens hood. Sigma doesn’t record the load of the E-mount model which has a 28mm longer “throat” however I assume that’s a further 100g. In case you use the F-mount lens on a Nikon Z physique the FTZ-adapter provides 133g (4.7 oz.). The Sony ZA is simply half as heavy at 630g (22 oz.) plus 30g lens hood. The Zeiss Batis is extremely mild as compared at solely 362g (13 oz.) plus 32g for the lens hood. However then it has a one cease slower focal ratio. [-]
Optics: The lens is a reasonably advanced design with 16 parts (together with 6 particular dispersion parts and one aspherical ingredient) in 12 teams. That makes 24 glass/air surfaces the place reflections may cause issues. There’s fluorine coating on the entrance to repel water, mud, and grime and will make for simpler cleansing. The Sony ZA has 12 parts in Eight teams, the Zeiss Batis has 9 parts in Eight teams. [+]
Closest focus distance is 0.36m (14in.) in handbook focus with a magnification of 1:5.6. This ends in a working distance of 18cm when the lens hood is eliminated. A magnification of 1:10 is achieved at 0.55m distance. The Sony ZA achieves the same magnification of 1:5.Three however the Zeiss Batis goes all the way down to 1:3.1 at 0.24m with a working distance of 14cm. 
Filter-thread: 82mm, so that you presumably want new costly filters. The Sony ZA takes smaller/cheaper 72mm filters, the Zeiss Batis 67mm. 
Picture stabilization: No optical stabilization of the lens. The Sony A7 or Nikon Z our bodies present built-in sensor-shift stabilization. Similar with the Sony ZA and the Zeiss Batis. 
Auto focus: Constructed-in AF drive. Handbook-focus override is by merely turning the main target ring. The main target ring has a direct linear mechanical coupling between the main target ring and the main target motion and gives distance and dof markings. The Zeiss Batis gives a show for focus distance and depth of area and its gearing is non-linear: this permits for much more exact handbook focus when turned slowly however makes easy focus pulling for videographers nearly unattainable. Concentrate on the Sony ZA works the identical as with the Zeiss Batis however it has no show of distance or dof. [+]
Covers full body/FX or smaller. Similar with the competitors. [+]
Value: The lens at the moment sells for 1200 EUR (incl. 19% VAT) / 1400 USD. The Sony ZA is the costliest lens on this trio at 1500 EUR/USD with the Zeiss Batis in between at 1300 EUR/USD. 
The Sigma Artwork lens comes with a padded pouch plus strap and the lens hood is included. It’s reversible for transport and has a locking mechanism to forestall it from unintentionally falling off. The Sony ZA has a comfortable pouch and the lens hood has no lock. The Zeiss Batis comes with the lens hood however with out a pouch. [+]
Aperture ring: no, identical to the Zeiss Batis. The Sony ZA gives an aperture ring with 1/Three cease clicks which will be turned off for steady, easy, and noise-free operation. 
Sealing: sure, a rubber grommet on the lens-mount plus additional particular weather-sealing all through the development, identical to the Zeiss Batis. The Sony ZA is equally sealed inside however lacks the rubber sealing on the lens-mount. [+]
The rating within the “features-department” is 2[-]/5/5[+], probably the most distinguishing options of the lens being its large dimension and heavy weight – sadly. On a mirrorless physique it appears and feels grotesquely unbalanced with the lens weighing twice as a lot because the physique. On the constructive aspect the lens appears properly constructed and its coating and climate sealing ought to make for trouble-free operation beneath demanding circumstances.
If you’d like a 40mm lens with an f1.Four focal ratio and autofocus there isn’t a different. The closest is a 35mm f1.Four lens or slower or handbook focus lenses.
- Sigma gives the AF 35mm 1.Four DG HSM Artwork for a comparatively low worth of 750 EUR / 900 USD. It’s an optical design from 2012 for DSLRs which can also be out there in E-mount since 2018. See my Sigma 35mm f1.Four Artwork evaluation the place it got here Extremely Really helpful when examined on a 36MP Nikon D800. At 755g for E-mount and 665g for F-mount the lens it’s a lot lighter than Sigma’s 40mm f1.Four Artwork.
- For E-mount there’s the Sony 35mm f1.Four ZA (1500 EUR/USD). My full Sony 35mm f1.Four ZA evaluation is coming quickly.
- Additionally for E-mount Zeiss has the 40mm f2.Zero CF Batis from 2018 for 1300 EUR/USD. Its one cease slower focal ratio is the most important drawback over f1.Four primes. The CF moniker stands for “shut focus”. Verify again quickly for my upcoming Zeiss 40mm f2.Zero Batis evaluation.
- Voigtländer gives the SL II Ultron 40mm f2.Zero from 2012 which is a really small and light-weight (63 x 25mm, 200g) pancake lens however handbook focus solely. Its native mounts are Nikon F or Canon EF however it may be used through an EF to E-Mount adapter on a Sony A7 physique too. The lens sells for 530 EUR / 420 USD. Plus there’s the Nokton 40mm f1.2 for E-Mount for 1100 EUR/USD. Once more, it’s handbook focus solely.
- Samyang/Rokinon/Walimex has a 35mm f1.Four AS UMC handbook focus lens from 2011 that’s additionally out there for Sony E-Mount (round 450 EUR / 400 USD). Plus there’s a more moderen model from 2017 for E-mount solely that may autofocus (550 EUR / 530USD).
In case you’re uncertain of how massive the variations between 50mm, 40mm, 35mm and even 28mm focal size are, right here is the angle of view that the Sigma 40mm f1.Four Artwork covers on a full-frame physique in comparison with the Sony 35mm f1.Four ZA:
Examine this to a 28mm and a 50mm lens:
Focus accuracy and repeatability is vital to persistently produce sharp pictures particularly with massive aperture lenses. Repeatability (the accuracy of deal with the identical topic after repeated focus-acquisition) of this lens is superb (measured 99.4% in Reikan FoCal) with no outliers over a sequence of 40 pictures. And there’s no focus variation whether or not the lens focuses from a more in-depth distance or from infinity.
The lens focuses in round 0.7 sec on a Nikon Z7 (with FTZ-adapter) from infinity to 0.55m (1:10 magnification), which is kind of quick. However each the Sony ZA (0.5 sec) and the Zeiss Batis (0.Three sec) have been clearly quicker on the Sony A7R II physique. The main target ring is 40mm large and straightforward to grip. However its motion is a bit stiff and can’t simply be operated with one finger. The Sony ZA and the Zeiss Batis each function focus by wire and their focus rings flip rather more easily.
AF-operation of the lens is audible from the surface and for those who report video with the built-in microphone the AF-drive produces some sound though not too annoying. As you pull focus, you’ll discover some focus respiratory: the picture turns into 5% extra magnified when I adjusted the main target from infinity to 0.55m. This might be distracting when capturing movies. The Sony ZA and the Zeiss Batis enhance their magnification by 6% and their focus is totally quiet.
Subsequent try my high quality outcomes!