Hold out for EF 35/2 IS or jump in with classic 35 1.4L

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#21
Bosman said:
Uh oh, I read up first thing this morning and got cross modginated. I apologize for my lack of truth on the gasket that was the 24-70 F4L. So sorry. I'm an idiot.
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No harm done. You made the 35mm F/2 much more desirable to me for a second >.<.

Wei
 
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#22
RLPhoto said:
35L is nice, but it's not quite razor sharp until F/1.8
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A good point, as much as I love the 35L, I've just accepted the fact it's not razor sharp at f/1.4. The 35L is a fabulous lens, and if you're a shooter needing the DOF advantages of 1.4 then there's nothing better in this focal length.

But if you don't need the DOF, and sharpness is important enough for you to not shoot the 35L at 1.4 then the 35/2 is likely worth considering. The other IS primes are quite sharp wide open.

Also if you're shooting static-ish nightscapes without a tripod, the 35/2 IS will be more handhold-able than the 35L. I have the 35L, and a 17-55 2.8 IS, if I'm going to shoot a building at night time without a tripod, I'm grabbing the 17-55 2.8 every time. The L has a 2-stop advantage over the 17-55, but only a 1 stop over the 35/2 IS. And apparently the 35/2 has a better IS system than the 17-55 so it will be a more stark comparison of IS vs Aperture for night shots.

Based on your positive comments about the 28/1.8 I'd guess you won't miss the IS too much. The 35L has a special look to it's photos, so you may want to go this way.

Just my 2 cents.
 
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#23
ahsanford said:
I had to make a similar choice a few months back -- the 35L or the new 28 IS. Rented them both first. I ended up choosing the 28 IS and have been quite pleased.

Money didn't factor into this call. My considerations were as follows (apply these to your situation as needed):

The 28 IS (2.8 + 4 stops IS) is more handholdable in low light than the 35L. That applies to what I shoot, but perhaps not for you. (I'm often shooting nighttime street or stationary people indoors at social events.) With my 5D3, I can bring home useable shots from ISO 6400 - 10000 shots at 1/20 of a second. The 35/1.4L cannot bring those shots in without shooting wide open (i.e. soft anywhere but in the center with an unusably small DOF for my needs) and at an even higher ISO to net a useable non-IS shutter speed.

New non-L EF (not EF-S) designs rival old L designs from an IQ perspective. The new 28 is as sharp as the 35L in head to head on the 28's wide open end (comparing both at F/2.8 ). The 35L is a shade better in the corners when you stop it down for landscape work. So I shot both and couldn't really see a difference in the IQ.

IMHO, the 28 IS has better build quality than the 35L. The 28 IS build/materials/etc. is nearly identical to the modern 'plastic' L lenses like the 100L macro (though the 28 lacks a gasket), whereas the 35L is dated, has cheaper looking/feeling plastic, etc. As an owner of the tank-like 24-70 F/2.8L Mk I and 70-200 F/2.8L IS II lenses, I was shocked to see the famous 35L I've heard so much about resemble my non-L 50mm F/1.4 in build quality.

The 28 is small, light, and unassuming. I love this as I often shoot candids, street, etc. In return for this little lens, I lost the prestige of a red ring. Great trade for me, but perhaps not for you.


So, given all of the above, I went with the 28. It was the right call for me. Had the same IQ statements been true and the new 35 F/2 IS was available then, I very well may have gone with that lens instead of the 28. But, if you like what F/1.4 - F/2 looks like, are shooting moving targets (where IS's longer useable shutter speeds won't help you), or need a red ring -- the 35L is the option.
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thanks for the info I'm holding out for the 35 f2 IS f2 rather than f2.8 makes a big difference for me and the 1 stop difference from f2 to f1.4 is not as much of a benefit as the 4 stop IS IMO
 
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#24
Ronkonkoma, NY, November 7, 2012 – Sigma Corporation of America, a leading researcher, developer, manufacturer and service provider of some of the world's most impressive lines of lenses, cameras and flashes, is pleased to announce that the first lens of its new Global Vision lineup, the 35mm F1.4 DG HSM, is now available for the street price of $899.

The 35mm F1.4 DG HSM, is designed for photographers who want to achieve creative, dramatic effects in their photographs. As the first lens released under Sigma’s new Art line, it will feature a new matte finish and overall new design concept, which includes a clearly defined category label on every new lens. This 35mm wide-angle lens with a maximum aperture of 1.4 ensures outstanding performance in low light, and a stunning bokeh background effect to emphasize the subject.

“We’re thrilled to break into this category of lenses with a product from our new Global Vision,” said Mark Amir-Hamzeh, president of Sigma Corporation of America. “We’re confident that our A1 quality control system, coupled with the industry’s first USB dock, will differentiate our lens in the category. Since it’s so versatile – ideal for scenes including landscapes, portraits, close-ups and studio photography – we think that it will be a hit.”

Other features of the new 35mm F1.4 DG HSM include:
■One “F” Low Dispersion (FLD) glass lens and four Special Low Dispersion (SLD) glass lenses to ensure exceptional correction of lateral and axial chromatic aberration, the latter of which cannot be corrected in post production
■A floating inner focus system to provide extremely high optical performance for close-up photos
■Super Multi-Layer Coating to reduce flare and ghosting and provide sharp and high contrast images even in backlit conditions
■A HSM (Hyper Sonic Motor) that ensures high speed, accurate and quiet AF
■Rubber incorporated into the attachment part of the lens hood, and an improved redesign of the lens cap and AF / MF changeover switch have been improved
■Thermally Stable Composite (TSC), which has high affinity to metal parts, that are housed internally, increases overall functionality, lifespan, and quality of the lens
■A rounded 9 blade diaphragm creates an attractive blur to the out-of-focus areas of the image
■A newly developed USB dock, which will be sold separately and exclusively for new product lines, can be paired with new Sigma Optimization Pro software to update the lens firmware and adjust parameters, such as micro focus adjustment

All of Sigma's manufacturing – right down to molds and parts – is carried out under an integrated production system, based entirely in Japan. Sigma is now one of the very few manufacturers whose products are solely made in Japan. Every 35mm F1.4 DG HSM will be checked using Sigma’s own MTF measuring system, “A1,” as will all new lenses under the Global vision categories. This system uses 46-megapixel Foveon direct image sensors to pick up previously undetectable high-frequency details for quality control inspections.

The Sigma 35mm F1.4 DG HSM will be available in Sigma, Sony (D), Nikon (D), Pentax and Canon mounts.
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http://www.dpreview.com/news/2012/11/07/Sigma-35mm-f1-4-DG-HSM-899-dollars-street-price

im no video guy and i never missed IS in my 35mm lenses.

so this will probably end up in my personal kit when the image quality is right.
 
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#25
Gothmoth said:
i would wait and check the new sigma 35mm f1.4.

http://sigma-global.com/en/lenses/cas/product/art/a_35_14.html

i hope it will be a winner.

i was not much of a sigma fan in the past.
but i give them some credit and i hope they do what they promised and make their quality management better.


New user-control tools and software, and new quality control measures

The new Sigma Optimization Pro software and USB Dock are designed exclusively for these new product lines and will enable Sigma users to connect their lenses to their computers to update lens firmware and fine-tune focus parameters via easy-to-use, on-screen controls.

All of these new lenses will also be subject to Sigma’s new, proprietary modulation transfer function (MTF) measuring system called “A1.” Named in honor of the company’s sole production base, the Aizu factory in Aizu, Japan, the A1 system will allow inspectors to verify previously undetectable high-frequency details in each lens before it is shipped.

“We used to measure lens performance with a MTF measuring system using conventional sensors, but this new A1 system uses our own 46-megapixel Foveon direct imaging sensors,” said Yamaki. “We view this new method of performance evaluation as being incredibly important, not only because we owe it to our customers, but because we owe it to ourselves. We’ve spent more than 50 years perfecting our design and manufacturing processes, and now we deliver a complete package by closing the loop on that commitment to quality by adopting a more stringent verification process.”
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http://www.sigma-global.com/en/lenses/cas/requirement/index.html#requirement04
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Sigma actually just released the price of the 35 F1.4 DG HSM for $899. The timing is interesting, its as if they were waiting for Canon to release the 35 F2 IS before announcing the price. This will make it harder to decide between the Sigma at F1.4 over the Canon at F2 but with 4 stop IS. Its very interesting. I wonder since it is an art series if they have even bothered to weather seal it, there is no mention of it that i have found...
FYI, I have an app on my iphone called Zite and it gives me news based on subject and the photography subject gets lots of new excellent articles, even Canon Rumors shows up on there.
 
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#27
Bosman said:
Sigma actually just released the price of the 35 F1.4 DG HSM for $899.
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$50 higher than Canon f/2 IS with one stop more aperture but no IS.
Since there's always that dreaded worry with Sigma lenses having AF "issues" with Canon, it's somewhat comforting to see that new Sigmas come with USB docks:

"Sigma developed proprietary software (SIGMA Optimization Pro) and a USB docking system that allows you to update the lens' firmware and adjust its parameters such as focus without having to ship it back to Sigma for adjustments."
 
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#28
drjlo said:
Bosman said:
Sigma actually just released the price of the 35 F1.4 DG HSM for $899.
Click to expand...

$50 higher than Canon f/2 IS with one stop more aperture but no IS.
Since there's always that dreaded worry with Sigma lenses having AF "issues" with Canon, it's somewhat comforting to see that new Sigmas come with USB docks:

"Sigma developed proprietary software (SIGMA Optimization Pro) and a USB docking system that allows you to update the lens' firmware and adjust its parameters such as focus without having to ship it back to Sigma for adjustments."
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I aleady have Canon 35mm 1.4L but I think this is an excellent move from Sigma.
 
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#31
Bosman said:
The price is not super far off from the L however given the other new lenses they have released it probably is sharp at F2. For those merging or adding video to their work its going to be real good for that and the is may be handy for low light since its the hybrid is. The new 35 F1.4 LII that comes out, god knows when, will probably be $1800. The optics are probably designed for the future hi resolution cameras that come out in the next 5 years at least that would make sense. I personally will probably get this lens for shooting finish line shots for sports given that i sold my 24-70 and liked the 35mm focal length for that. However, I want to see reviews and learn more before dropping the cash. The compromise would also be that i would need to use a rain sleeve for my equipment shooting events in bad weather which I havent had to do with my 1dm3 and 24-70 or 70-200, still it is just smart to protect it.
new the 35L is $1,329.00
new the 35F2 is $849.00
If $500 is a lot to you then the F2 is it. Personally I'd get the F2 and if you needed more power or weather proofing built in due to using it in bad weather conditions then the L is it but then I doubt it offers much more than the F2 until or unless they get a F1.2 35mm on the books in which case bam! that would be a must buy but also be $2500 if it did see the light of day.
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This is semi-OT, but something to consider if the 35mm F2 is on the plate for anyone:

How well do you rate the weather-sealing of the sealed Canon lenses? I took my 24-70L and my 5d2 to Burning Man this past summer. I gaffer taped the hell out of it, as well as wrapped it in plastic bags from the convenient store. I was smart enough to put it in my bag when I wasn't using it (or when huge dust storms flew by) but it was still in inhospitable weather for a week, and the parts that were not taped/covered had dust all over them. At our first stop for food on the way out, I wiped it down a/ baby-wipe and took off the tape: it was in beautiful shape. I was really pumped.

My only regret was, as it was taped and bagged up, using a zoom. I also took some night shots and the extra F-stop (or two) from a fast prime would have been money VERY well spent. So, I'm in the market for a fast 35mm or 50mm for next year. Caveat: I'm experiencing physical arousal for Zeiss right now as I just got my first one. Thinking of getting a 35 or 50 of that flavor, but as I will be wrapping it up again, that focus ring makes it impossible to use at the event.

Sry to ramble. Could anyone expect such harsh conditions to wreak havoc on a 35mm F2? Not sure if the OP is going to be in the rain, but at this point, it could be the major difference (other than the F-stop) between the two lenses.
 
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#37
Bosman said:
How are you liking the 40 Dolina? I haven't had any recent work or time with the lens but from my simple tests, it looks amazing and the focus on the 5dm3 is without flaw. That said its not as fast as an L but then i expected that. I didn't buy it for fast focus.
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The pancake is super sharp for the dollar. Wide open it's very good, but F/4 - F/5.6 it's stellar. There have been some reviews shooting down it's performance when stopped far down (F/11 or smaller), so I wouldn't advise it for landscape work. And, famously, it's a slow focuser if you are accustomed to USM glass. Useable for sure -- but it's not quick.

I will say that it stays in my bag far too much; my 28 2.8 IS and 50 1.4 can simply do more for me (better in low light, I have filters of that size, can do landscapes, etc.), so those lenses see much more use.

Would love to see them make a 22 pancake (like they did for EOS-M) so that I could have a small/wide/fast walkaround for my crop. That's a single lens mirrorless alternative that I could get behind. ::)
 
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#40
Bosman said:
How are you liking the 40 Dolina? I haven't had any recent work or time with the lens but from my simple tests, it looks amazing and the focus on the 5dm3 is without flaw. That said its not as fast as an L but then i expected that. I didn't buy it for fast focus.
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It is good enough for me to forget the 35. ;D

Physically the smallest at less than an inch, tied at the lightest with the 50/1.8 II, 2nd cheapest Canon lens after the 50/1.8 II while using today's technology.

For me it is the perfect party and street lens. I can even use it as a lens cap.

I am looking forward to stuffing the 40 and a pro body into one of these bags.

Speed-Changer-V20-1.jpg
 
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