The Phoblographer

I don’t like zoom lenses, but this is a good one.

For all intents and purposes, the Leica SL 24-90mm f2.8-4 demonstrates true innovation. That’s the case with Leica trying something new. The standard zoom is a 24-70mm f2.8 lens. The 70mm focal length always felt odd. As I’ve used them, I usually set the lens to certain focal lengths and work with those. I’ve always wondered why they couldn’t go to 85mm. Or why not create a 35-85mm f2.8 lens instead? Leica did something different with 24-90mm. This zoom contains much more usable focal lengths, in my opinion. Objectively speaking, this is a fantastic lens, but it failed to capture my heart and passion for this craft.

Pros and Cons

Pros

Weather sealed

It’s built incredibly solid.

Nice bokeh, especially because of the longer focal length vs. a 24-70mm

A genuine attempt at doing something different

Great image quality

Like all things Leica, it’s pretty easy to use once you actually understand it.

Focuses pretty fast and reliably, moreso with the Panasonic S5

Cons

Doesn’t come with a lens hood

Man, this thing is heavy and big.

It’s $5,495, but you can find it for a bit cheaper on Amazon.

Gear Used

We tested the Leica SL 24-90mm f2.8-4 with the Leica SL2s, the Panasonic S5, and the Leica SL2.

Leica SL 24-90mm f2.8-4 Tech Specs

These specs have been summarized from the LensRentals listing. Try it before you buy it!

f2.8-f22 aperture range

Weather Sealing

3.46-inch diameter

5.43-inch length

82mm filter thread

15 groups in 18 elements

11 Low dispersion elements

Minimum focusing of just under one foot away

L mount

2.51lbs, so this is a chunky thing

External zooming

Ergonomics

The Leica SL 24-90mm f2.8-4 is a very standard zoom lens. There are two major controls; the focus ring and the zoom ring. The former is towards the front, and the zoom ring is more comfortably situated to the back. The rest of the lens has a metal exterior. When you grip the lens, make sure you hold onto the rubber rings.

The front lens filter is an 82mm thread. That’s a big boy! And if you’re not going to buy the lens hood, then snag a UV filter. That’s going to be very important here.

Otherwise, the lens is an external zoomer. That means that it gets longer the more you zoom in. Overall, it gets to maybe around half as long as it started.

Build Quality

One of the reasons you pay for a Leica is that they don’t play around with build quality. Leica went ahead and IP rated their cameras, but not their lenses. However, the Leica SL 24-90mm f2.8-4 is very weather sealed. We’ve taken it out into the rain, snow, and other conditions. The lens kept working: this is a very reliable lens.

Things get odd when you pick it up, though. First off, this is a huge lens. To me, it rivals the Canon 28-70mm f2 RF lens. It’s not as girthy, but it’s probably just as tall. It’s also cumbersome.

I tested a few versions of this lens. While in Germany with Leica last year, I used a copy that they had there. But here in NYC, I went through two different ones. The first copy I had came with a dented lens filter ring. That means someone really used the heck out of this lens. It kept working, but this brings up another big question. Why the heck am I paying $5k for a lens, and I get no lens hood? That doesn’t make sense. I completely understand and sympathize with ensuring your workers are paid fairly. Leica is really all about sustainability, and that should be valued much more than it is. But give me a lens hood!

“Why the heck am I paying $5k for a lens and I get no lens hood? That doesn’t make any sense.”

A quote from Chris Gampat

Where this lens truly feels at home isn’t necessarily with Leica’s own cameras. In fact, where I found it to be best balanced is with the Panasonic S5. With that camera, the overall package becomes something I’d bring around with me everywhere.

Ease of Use

Using this lens is just like any other modern autofocus optic on the mark...

The difference in quality between a kit lens and these standard zooms will blow you away.

So, you purchased a new camera not too long ago, and you’re now starting to look at new lenses. You know you prefer zooms over the idea of primes, but what lenses do you start looking at? Honestly, standard zooms or those with a focal range between 24-80mm on Full-Frame cameras are a great place to start. If you shoot with APS-C, 16-55mm lenses are great, and 12-45mm on Micro Four Thirds cameras will fit the bill nicely. Compared to kit lenses, any non-kit lenses you buy will yield a huge return on your investment. You’ll immediately see the difference in image quality, build quality, and overall performance. The great thing about standard zooms is that they cover some of the most widely used focal lengths. In this roundup we’ll take a quick look at five standard zooms across different platforms that we highly recommend.

Sony 16-55mm f2.8 G (APS-C)

In our review, we said:

“It offers the user decent bokeh, sharp image quality, standard colors, and an overall good experience for this kind of lens. To be honest, it’s the best of its kind. And for the professional photographer using the Sony 16-55mm f2.8 G, that’s all they need.”

Chris Gampat – Editor In Chief

Buy now: $1,298

Olympus 12-45mm f4 PRO (Micro Four Thirds)

In our review, we said:

“The Olympus 12-45mm f4 PRO has autofocus that is very quick. That is thanks to the lightweight lens elements on the inside. Tack onto that the speed that the EM1 Mk III delivers and you’re pretty solid for having a walkaround lens..”

Chris Gampat – Editor In Chief

Buy now: $526.44

Tamron 28-75mm f2.8 Di III RXD

In our review, we said:

“One of the things that make the Tamron 28-75mm f2.8 Di III RXD so appealing is just how good the image quality is. Not only is the lens capable of delivering sharp images, but the colors are very vibrant and the bokeh is smooth and beautiful.”

Chris Gampat – Editor In Chief

Buy now: $879

Pro Tip: Like all lenses, these standard zooms will get dirty, and you need to be prepared to deal with that. We always recommend that you clean the front element before each use and give the lens a deeper clean at least every two weeks. Doing this will ensure that your gear works as it should for many years. You don’t need a fancy lens cleaning kit that costs a ton. In fact, this one is perfect, and it’s less than $20!

Canon RF 24-70mm f2.8 L IS USM

In our review, we said:

“The Canon RF 24-70mm f2.8 L IS USM is a great lens through and through. It’s sharp, has beautiful bokeh, great colors, and is incredibly versatile.”

Chris Gampat – Editor In Chief

Buy now: $2,299

Fujifilm 16-55mm f2.8 LM WR (APS-C)

In our review, we said:

“The Fujifilm 16-55mm f2.8 LM WR is an exceptional lens in pretty much every way when it comes to the image quality. The lens is sharp–sharper than most of the company’s primes, in fact. It also gives us great bokeh, excellent colors, and everything a photographer could ask for, including weather sealing.”

Chris Gampat – Editor In Chief

Buy now: $1,199

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It wasn’t too long ago that Full Frame cameras cost over $2,000 for bare-bones entry-level models. Now, you can get feature-rich Full Frame cameras that cost less than $1,500. In fact, many of these cameras cost less than $1,500! Can you believe it? What a time to be a photographer. If you have always wanted to own a Full Frame camera, now is the time to add one to your collection. All the cameras we have listed after the break have more bells and whistles than you can shake a stick at, they have splendid sensors, and they will last a lifetime thanks to their build qualities. Check out our picks for the best Full Frame cameras under $1,500 after the break.

Canon EOS RP

In our review, we said:

“There is a lot to like the Canon EOS RP. It’s a simple and fun camera if you’re more inclined to the world of automation. But even so, with the right settings and a bit of patience, it can be a great camera in the hands of someone who has a creative vision.”

Chris Gampat – Editor In Chief

Buy now: $999

Sony A7 MK II

In our review, we said:

“The Sony A7 Mk II seems to be built better than the A7, but indeed the same level of splash and dust resistance as the A7 is present. The camera overall feels very solid, and we took it out for a walk in the rain where it held its own like a pro.”

Chris Gampat – Editor In Chief

Buy now: $898

Pro Tip: If you pick up one of these Full Frame cameras and perhaps need a little inspiration to go along with it, we highly suggest getting your peepers into a good book. Bruce Barnbaum’s ‘The Art of Photography’ will help you see things in a whole new light. With the knowledge from this book, you’ll be able to create like never before. It’s available as a hardback and on Kindle.

Nikon Z5

In our review, we said:

“The Nikon Z5 is weather resistant. It’s rated to be just as tough as many of the company’s other cameras. Nikon’s mirrorless cameras are thankfully as tough and reliable as they get. We’ve taken it out in the rain and purposely let more moisture get on it. Despite this, the Nikon Z5 kept working. That’s fantastic to know.”

Chris Gampat – Editor In Chief

Buy now: $1,196.95

Nikon D750

In our review, we said:

“Combine this broad usable ISO range with a high-resolution sensor and this camera is a very capable workhorse for wedding photographers and studio work. It’s not quite the resolution monster that is the Nikon D810, but the sensor has more than enough megapixels to capture tons of sharp details and reproduces vibrant colors with accurate skin tones.”

Buy now: $1.496.95

Canon 6D Mk II

In our review, we said:

This image (below) was shot at ISO 6400 and I was able to print this photo at 13×17 with little evidence of grain unless you get very close. It’s beautiful and if that doesn’t prove anything to you then I’m not sure what will. On a computer screen, anything and everything can look good if you’re not pixel peeping. But printing? Oh man, that’s a different story.”

Chris Gampat – Editor In Chief

Buy now: $1,399

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Ultra-wide zooms are spectacular lenses. Honestly, they’re one zoom that we recommend all photographers have in their lens bag. Ultra-wide zooms are perfect for landscapes, cityscapes, astrophotography, environmental portraits, architectural photography, and so much more. We recently took a look at 5 premium ultra-wide zooms that all landed around the $2,000 and up mark. However, there are plenty of fantastic options that have much lower costs of entry. In this roundup, we’re going to take a look at five ultra-wide zooms that are relatively affordable, and that will deliver images that will make you grin from ear to ear.

All of the ultra-wide zooms we have listed below reviewed incredibly well. We were blown away by the image quality, build quality, and overall autofocus performance. The lenses are even more impressive when you take their prices into consideration. The five lenses below are incredibly affordable for what they are. We’re sure that you’ll love them if you add one to your collection.

Tamron 17-28mm F2.8 Di III RXD

In our review, we said:

“The Tamron 17-28mm f2.8 Di III RXD is a fantastic lens when it comes to image quality. This overall makes it a stellar performer. I’m positive that if photographers weren’t specifically pixel peeping that they’d be incredibly happy with the sharpness results the Tamron 17-28mm f2.8 Di III RXD offers. They wouldn’t be able to tell it apart from the Sony 16-35mm f2.8 G Master.”

Chris Gampat – Editor In Chief

Buy now Sony E: $839

Fujifilm 10-24mm f4 R OIS

In our review, we said:

“This lens produced great images with vibrant colors and sharp lines. This the kind of lens that has myriad applications, but it works particularly well with event and street photography that can often call for wider perspectives.”

Buy now: $999.95

Pro Tip: These ultra-wide zooms are perfect for many different genres of photography. However, they excel in landscape photography. If you’re new to landscapes and you want to learn how to get the most out of your gear, this book from Scott Kelby will guide you all the way. You’ll be capturing epic shots in next to no time at all.

Nikon NIKKOR Z 14-30mm F4 S

In our review, we said:

“The 14-30mm f4 S for Nikon Z cameras produces remarkable images with outstanding sharpness and little to no distracting aberrations, and is constructed to withstand the elements while maintaining a diminutive footprint.”

Buy now: $1,096.95

Pentax 15-30mm f2.8 ED SDM WR

In our review, we said:

“The overall image quality from the Pentax 15-30mm f2.8 is impressively sharp and great overall. There’s a lot to love about this lens’s image quality.”

Chris Gampat – Editor In Chief

Buy now: $1,296.95

Sigma 14-24mm F2.8 DG DN Art

In our review, we said:

“The Sigma 14-24mm f2.8 DG DN Art is a good lens in many ways. Not only does it have solid image quality, but you’ll be hard-pressed to best its build quality. For Sony E mount, you’ve got very good options with this, Sony’s 16-35mm f2.8 G Master, and Tamron’s 17-28mm f2.8 lenses. However, this lens is the best compliment to Sony’s trinity of zoom lenses. Event photographers, photojournalists, and landscape photographers will really enjoy this lens mated to their camera.

Chris Gampat – Editor In Chief

Buy now L Mount: $1,389

Buy now Sony E: $1,329

Pro Camera Reviews returns tomorrow at 7pm EST. Please Register here.

It’s a new year! And we’re super excited to return with the latest episode of Pro Camera Reviews. Gear Editor Brett Day has recovered from COVID-19, and we’re stoked to interact with you. Sunday’s episode will be about the near future, We’re focusing on what camera manufacturers should deliver and ways that you can be inspired. More details are below!

In this episode:

What We Want To See From Camera Manufacturers in 2021

2021 needs to be a big year for camera manufacturers. Let’s be honest; the last couple of years in the camera market have been rather humdrum. We have been treated to many minor refreshes of older cameras, which haven’t done much to scratch our itch for new tech. We’ve also seen many virtually identical cameras in regards to the sensors being used, and it’s getting old. Honestly, the camera market is getting rather stagnant, and there needs to be a shift. Join us as we talk about new technology and features that we think will drive cameras forward. We’d love to hear what you guys and gals want to see going forward as well.

How to Find Inspiration for Photography Projects in the Pandemic

Like many of you, we feel creatively stunted. So we’ve looked through lots of our backlog of photographers we’ve interviewed. Plus we’ve searched on other places for inspiration. After that, it’s just a matter of finding the time and the space to go shoot. We’re going to talk about how we’re shooting in the pandemic.

About Pro Camera Reviews

Pro Camera Reviews happens every Sunday. Sign up to join us! Please Register here.

Pro Camera Reviews is a web show by the Reviews Team of The Phoblographer. Join them as they candidly discuss the products they’re actively reviewing and the gear they’ve just reviewed. Open Q and A from the audience towards the end of the show. Every Sunday at 7pm EST.

Please register here.

If you’re looking for a fun time while staying safe, we strongly recommend that you tune in for Pro Camera Reviews. It’s a weekly show where the staff tackles a couple of issues in the Photo World. They mostly pertain to cameras and lenses, but sometimes things get a bit more serious. This is partly because we still feel that we need to be educators and leaders in this space. Additionally, we also need to be responsible. Episodes are done on Zoom and are recorded. They’re Live Streamed to our Facebook Page, then shared on Flipboard TV and YouTube. We recommend that you subscribe to us on Youtube to keep up.

Want more Useful Photography Tips? Click Here.

If you’re a person who likes the neon look, then you should know the truth: you can use almost any colored light out there. The only thing you need to do is change your white balance. That’s it. You won’t need to do post-production. And you won’t need to retouch your wonderful model. All you need to do is wisen up and tweak a single setting for the neon look. If you look at lots of these images, you’ll realize they’re mostly around the same white balances. And trust us, it’s super easy to get this done.

So here’s all you need to do: set your white balance to either 3200K or 5500K. Why spend more time creating an image when you don’t need to? You can move onto another idea and be even more creative by spending more time behind the camera.

Lots of folks use post-production as a crutch. If you’re spending more time in Lightroom, Photoshop, or Capture One than you did creating the image in-camera, you’re not a photographer, you’re a post-production artist. But if you’re reading this site, then you’re most likely a photographer. And with that said, you acknowledge that you’re the one who creates the images. Why not make your image creation even strong?

Here’s some extra insight. Try this. Look at the light you’re using and do this:

White light needs 5500K to look warmer and 3200K for the Blade Runner look.

Red needs 5500K to look super deep and 3200K for balance.

Orange needs 5500K to look super deep and 3200K for balance.

Yellow needs 5500K to look warmer and 3200K for a cooler look.

Green needs 5500K to look warmer and 3200K for a cooler look.

Blue needs 5500K to look more balanced and 3200K for a deeper blue.

Indigo needs 5500K to look more balanced and 3200K for a deeper embrace.

Violet gets its deepest embrace at 3200K and more balance at 5500K.

Why am I so much against post-production? Well, I’m not. I believe that photography and post-production aren’t the same things. More importantly, I think we’re spending too much time behind computers and not enough time behind a camera and working with people. Obviously, we need to be safe due to a pandemic, but we should learn to do it all in-camera. Why? Photography is under attack. Specifically, photography as an art is under attack. The artistic side of it is done in-camera. Maybe I should explain it another way.

If you’re getting paid $3,000, would you rather get paid for doing 30 minutes of work or eight hours of work? Obviously, it’s the former. And that applies whether you’re a professional or want to be a professional. But if you’re a hobbyist, it’s different. You’re telling the world that you need Photoshop to be a better photography. You’re telling the world that you need to do post-production and that people can’t look great the way they are. This can also apply to landscape photography. Why not use graduated ND filters? It’s surely possible to get great landscapes without a lot of post-production.

Think about this more carefully. Try it for yourself. I challenge you to do so. Commit to doing it for a month, or a year! See what you can do to become a better photographer (or actually a photographer). The neon look will become so much more understandable to you too.

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If you just got a new camera over the holidays and you need to start looking for camera bags, you’re in the right place. Camera bags are a must-have accessory. They make carrying gear around incredibly easy. They will even protect expensive gear from bumps, bangs, and the weather when not being used. We have selected five camera bags from our reviews index that received great marks during our tests. The best part: all these bags are very affordable. If camera bags are high on your shopping list, check out this roundup of five of our favorite affordable options.

All the camera bags below will do a fantastic job when it comes to protecting your expensive camera and lenses. They can all stand up to the elements, they’re well-padded, and they’re comfortable to carry for long periods. If you’re looking for an easy way to get your gear from point A to point B, look no further than these camera bags.

Vanguard Havana 48 Blue Backpack

In our review, we said:

“We took the Vanguard Havana 48 through rain, which, in addition to the NYC commute on the L train (and others), was the toughest thing that we put it through. This bag survived it all without even needing to bring out the rain cover.”Chris Gampat – Editor In Chief

Buy now: $89.99

Tarion M-02

In our review, we said:

“A feature that I found to very nice is the overall size. It stays compact and doesn’t become a super large pod on your back. Instead, it’s very versatile to keep on your back while in the crowded NYC subway.”

Chris Gampat – Editor In Chief

Buy now: $59.89

Portage Supply Mariner Messenger Bag

In our review, we said:

“The Portage Supply Mariner Messenger Bag is really easy to use and again, it basically takes what the photo industry has been doing for years and improves on it in slight ways–mostly being materials and little things like moving where the laptop sleeve is.”

Chris Gampat – Editor In Chief

Buy now: $59

Pro Tip: Don’t forget to fill your bag with must-have extras like some SD Cards, camera cleaning kits, and weatherproof camera and lens covers. These items are also essential. With a camera bag, you can carry all these items and more with ease. There’s no reason to be caught off guard anymore.

Tenba DNA 15 Messenger Bag

In our review, we said:

“Overall, the Tenba DNA 15 Messenger is a solid bag, and despite its quirks, I thoroughly enjoy using it. This bag is just about perfect for those who like to travel light, and the fact that it is TSA compliant is a huge bonus. Photographers who love going on photo walks with a small amount of gear will appreciate how comfortable the bag is, and for those who like to carry larger lenses (think 70-200mm f2.8), like sports or portrait photographers, you’ll appreciate how versatile this bag is.”

Brett Day – Gear Editor

Buy now: $174.95

Tenba Solstice 24L

In our review, we said:

“The overall design, build quality, ease of use, and configurable space make this a great bag for landscape photographers who like to take it all with them.”

Brett Day – Gear Editor

Buy now: $199

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We have found some incredible deals on brushes, guides, and texture packs from master photographer and editor Joel Grimes. Each bundle (30 in all) is just $9! For the price of two cups of designer coffee, you can become a better photographer and editor. There’s no better way to kickstart 2021. There are course bundles like his Rembrandt Cross Light Course, Natural Light, Head Shots, and Beauty Portraits that are all just $9 each! Joel’s Rain Splash Brushes, Snow and Lightning Brushes, and Cloud and Skies Brushes are only $9 each. There also seven different texture bundles on sale for $9 each too! You don’t want to miss out on these deals.

Joel Grimes is one of the most recognized photographers and photo editors around. His guides, brushes, and texture packs have received rave reviews from everyone who’s used them. Now, if you’re ready to learn new skills and make your life easier during post, make the most of this sale. For a limited time, all the courses, brushes, and texture packs listed here are just $9 each! Some of these bundles usually retail for $79!

Seize Your Chance and Invest in Yourself for 2021

If you want to learn about lighting, Joel Grimes can teach all you want to know. Joel is known for his ability to create dramatic portraits with just one light. These guides will show you how to do the same. His Photoshop brush bundles come with over 15 brushes that will transform your images quickly and easily. Joel’s texture packs feature 25 or more textures that will help you create your own masterpieces. Remember, all the bundles are just $9!

Become a Better Photographer with Joel Grimes as Your Guide

If you’re ready to learn the skills needed to take both your photography and your photo editing skills to the next level, these bundles from Joel Grimes, which are just $9 each, shouldn’t be ignored. These deals are easily some of the best we have seen in a very long time. Snap them up while you can, and start creating the images you’ve always dreamed about making.

It’s time that Kodak gets back to the image sensor business.

Dearest Kodak,

I remember fondly back to a time when you made imaging sensors. Specifically, I remember the ones you sold to Leica. They were wonderful. The sensors you made too were wonderful. Sadly, the industry didn’t appreciate them. And I hold myself partially responsible for not appreciating what your sensors did at lower ISOs. All we cared about were high ISO results. But if there were ever a time for you to come back to the digital photo world, now is the time, Kodak.

I’m not talking about some of the odd products that you make. Instead, I think you need to sell sensors again. I remember when you sold some to Olympus. And I remember how beautiful the images were. I genuinely thought so since Olympus was a more affordable brand for early 20s Chris.

The situation is this. There are really three sensor makers right now. Tower Jazz is most likely used by Leica a lot now. Sony controls how a lot of the photo industry functions. But they’re dictating too much over Sigma, Panasonic, and Nikon. Canon isn’t sharing their own sensors. And Samsung pulled out. We need more competition. We don’t need more camera and lens makers. But cameras should shine with solid image quality, and your sensors should be helping those lenses shimmer in the eyes of passionate photographers.

I know many of your employees haven’t liked the truth that’s come from this blog. But you can’t deny that the manufacturers understand the importance of us keeping them all in check. They’ve literally told us this.

Your focus on film is cool. When Ektachrome was announced, we were one of the few to get the NDA. So why not make a digital Ektachrome sensor?

Heck, why not make a variety of sensors? A Portra sensor? A Tri-X sensor? A T-Max sensor? An Ektachrome sensor? Or better yet, why not let the manufacturers use that and have that rendered for themselves?

I’d really love a CCD sensor. Panasonic’s L mount lenses would look wonderful at ISO 50 with a CCD sensor. Nikon’s Z mount lenses would make a Portra sensor at ISO 160 look so wonderful! You could get so much more done in the photo industry, and you could return in a tremendous way.

Another reason why this is the best time is because we’re in a global recession. That’s the best time for a company to grow. Trust me, I’d know. I founded this site in the last one. Cameras started getting killed by smartphones in around 2011. We’re 10 years later. Looking on in the next 10 years, the industry is supposed to come back and evolve. That’s what the watch industry did, at least when the nail was put in the coffin in 2001—cameras and passion products. Passionate photographers buy them. Hobbyists buy them. Professionals buy them. And creators need them. But we need more variety.

To clarify more, you don’t need to make cameras. That’s not necessary. But you can continue on with a B2B model. A Kodak digital brownie would be a super cool idea, but we don’t need it. We need to strengthen the companies currently around. And you and Samsung are probably in the best position to do so.

Sincerely,

Chris Gampat

Editor in Chief/Founder

We’re hoping Sigma can fill a couple of voids in the coming year with some special products.

Over the last few years, we have been blessed with some great lenses from Sigma. After going big (we mean really big) with some of their lenses, the company slowly started rolling out Mirrorless versions of their beloved DSLR glass. We even saw a new Full-Frame camera in the Sigma FP. These developments have now set the stage for 2021. A recent comment from Sigma’s CEO said that we should all be on the lookout for some innovative products in 2021. What could this mean? Join us as we take a quick look at what we’d like to see from Sigma in the coming year.

Kazuto Yamaki tweeted: Dear valued customers, Happy new year! Thanks to your kind support, we could make 2020 a great year for us. Thank you so much. Together with several innovative new products in 2021, we will continuously strive to deliver you the best quality products and services.

The tweet Sigma’s CEO, Kazuto Yamaki, sent out was shared by L-Rumors. The tweet (which we have shared above) doesn’t give away any details regarding what might be in store. Still, it has grabbed our attention and has piqued our interest. So, just what could sigma have in store for us in 2021? Your guess is as good as ours. Still, we have a nice list of products we’d love to see come our way in the new year.

More Sigma f1.2 Art Lenses, Please

We’ve been blessed with the massive yet spectacular Sigma 35mm f1.2 Art DG DN. So, we don’t think it would be too crazy to suggest that more f1.2 lenses might hit the streets this year. A 24mm f1.2, a 50mm f1.2, and an 85mm f1.2 would complement the Sigma 35mm f1.2 Art well. There’s no doubt that they would grab the attention of many photographers. This will especially be true if Sigma can keep these lenses’ prices well below the MSRP of lenses like the Canon RF 50mm f1.2 and RF 85mm f1.2. Seeing that the 35mm f1.2 sells for $1,499, we’re hopeful of this. This would be huge news for current and prospective Sony E mount and L mount photographers. There’s a serious lack of ultra-fast glass on these two platforms. Make it happen, Sigma.

A Mirrorless Version Of The Sigma 18-35mm F1.8 Art Would Be Brilliant

One of my favorite lenses of all time is the Sigma 18-35mm f1.8 Art. Essentially three primes in one, this lens is wicked sharp, produced gorgeous colors, and was extremely quick when it came to focusing. However, there was only an APS-C DSLR model. Despite photographers pleading for a Full-Frame version, it never materialized. Hopefully, Sigma will give us a Mirrorless DG DN version of this lens designed for Full-Frame cameras in 2021. Keep the price similar to the original, Sigma, and you’ll have a best seller on your hands.

It’s Time For A Full-Frame Foveon Sensor

Okay, Sigma, it’s time. In fact, there’s no better time than now to release a new Full-Frame camera with a Foveon sensor. Sensor technology is virtually at a standstill, and the camera world is calling out for something different. For those that do not know, Sigma cameras from the past used Foveon sensors. These APS-C sensors use a vertical stack of photodiodes. These layers all correspond to a different RGB color. What does this mean? Colors that are simply unmatched by anything else. However, previous Sigma cameras have suffered from poor high ISO performance, slow autofocus speeds, and poor battery life. Still, now, with today’s technology, we sure Sigma can come up with a camera that can shake up the market.

While the Sigma FP might have been a great video camera, it was a mess for photographers. However, a new stills centric Sigma camera with a new Foveon sensor would be a dream. Still, forgo the crazy stylings of the past, Sigma. Just deliver us a solid camera ergonomically. Make sure the camera delivers great battery life, better AF performance, the L mount, and the film-like qualities of the Foveon sensor, and we will be set.

We Need Canon RF, Nikon Z Lenses, and Plenty ...