As you can see in our chart Sigma tried their utmost to make their new 1.2/50 lens as handy and lightweight as it was only possible. Their efforts were successful because the new Sigma is the lightest of all instruments presented in this group and, when it comes to their dimensions, only the Sony can compete with it – a lens slightly shorter but definitely bulkier.
That rivalry concerning dimensions and weight has an interesting effect – the 1.2/50 Sigma model is shorter than the slower Sigma 1.4/50, launched earlier, and, at the same time, it has a smaller front element and offers the same filter diameter. You also gain when it comes to the number of aperture blades and the minimum focus distance.
In the photo below the Sigma A 50 mm f/1.2 DG DN is positioned between the reflex camera Sigma A 35 mm f/1.4 DG HSM and the Voigtlander Apo-Lanthar 2/50.
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The tested lens starts with a metal mount that surrounds contacts and an immobile rear element, 28 mm in diameter. That element is situated right under a black frame with rounded corners made of plastics, and its dimensions are 30x24 mm. From this side everything looks very well.
A smooth, black ring made of metal is the first part of the proper barrel of the lens; it increases its diameter very fast but does so rather smoothly. On this ring you see a white dot, making an alignment with a camera easier, and the model year of the instrument, in this case 024, information that the lens was made in Japan, and an inscription with the focusing mechanism working range :”0.4M/1.31FEET– ∞”.
Further on you see an aperture ring, 18 mm wide, mostly covered by ribbing; it features aperture marks ranging from f/16 to f/1.2 and an A value (meaning automatic settings). The ring moves every 1/3 EV stop but you can also make it clickless. Its performance is very comfortable and smooth, simply beyond reproach.
Further on you see an immobile part of the lens covered by plastics with the logotype of the company, the name and parameters of the lens, its serial number, some fine ribbing, an 'A' letter that means the instrument is qualified as an Art line lens, and a whole array of switches. The first of them – AF/MF FOCUS– allows you to control the focusing mechanism working mode. The second one – AFL – recalls a specific autofocus position but you can allot it other functions too. Below there is a CLICK OFF/ON switch that controls the aperture ring mode. On the other side you can also find the aperture ring lock switch that can be set either on the A position or at any other point ranging from f/1.2 to f/16.
A manual focus ring, as wide as 42 mm and mostly covered by ribbing, is another part of the barrel of the lens. It is a focus-by-wire mechanism; you won't find any distance or DOF scale on it. Its performance we found very smooth and the ring remains properly damped at the same time. Its focus throw depends on the speed of your turning. When you move the ring faster it amounts to approximately 180 degrees, when you turn it slower you can reach even over 300 degrees. Both these are values allow you very precise settings.
The barrel ends with a short, immobile ring that turns into a hood mount (a hood is added in the box with the lens). The front element is 52 mm in diameter, slightly concave, immobile, and surrounded by a non-rotated filter thread, 72 mm in diameter.
The lens is weather sealed – splash proof, and dust proof. The front element is also protected against dirt, grease, and moisture retention by hydrophobic coating.
When it comes to optical construction the lens features 17 elements positioned in 12 optical groups. Among them you can't find any low dispersion glass elements, but, for a change, there are as many as four aspherical elements. Inside there's also a round aperture with 13 blades that can be closed down to a value of f/16.
Buyers get in the box with the lens: two caps, a petal-type hood, and a solid, practical case with a separate strap.
