Sigma 50mm F1.2 DG DN Art Lens Review

About a year prior, Sigma released the impressive 50mm F1.4 DG DN Art Lens, delivering excellent wide-open image quality in a high-quality and high-performing lens. Open that lens's aperture by 0.44 stops to f/1.2 and increase the price, and, for the most part, you get the Sigma 50mm F1.2 DG DN Art Lens.

50mm lenses are photographers' perennial favorites and among their most used. My first camera came with a 50mm lens, and the Sigma 50mm F1.2 DG DN Art Lens is the 32nd 50mm prime lens model to arrive in the studio.

Most of these 50mm lenses open wide, with f/1.8 or wider apertures, but only in recent years have wide aperture 50mm lens designs delivered outstanding image quality at their widest aperture. The Sigma 50mm F1.2 DG DN Art Lens is a member of this elite group.

In addition to delivering impressive image quality, the Sigma 50mm F1.2 Art Lens features a high-quality design and build, excellent Dual HLA-driven AF performance, and a reasonable price. This lens is an outstanding choice for extending the capabilities of the kit.

Focal Length

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Focal length is a primary consideration for lens selection. A specific angle of view is required to get a desired subject framing with the optimal perspective (or from within a working distance limitation).

Canon and Sony each have six 50mm lenses in their lineup, Sigma has 4, and there are a handful of near-50mm lens options. Those numbers lead us to the question: why is 50mm so popular?

On a full-frame body, the 50mm focal length provides an angle of view that seems natural, and that aspect brings great general-purpose usefulness.

Fifty mm lenses are frequently used for fashion, portraiture, weddings, documentaries, lifestyle, sports, architecture, landscapes, commercial, around-the-home, and general studio photography applications, including product photography. As you likely noted, a number of useful applications for this lens include people as subjects. While a 50mm lens used (on a full-frame body) has a modestly too wide angle of view for tightly framed headshot portraits (a too-close perspective is required), but it is excellent for wider portrait framing.

I typically keep a lens under review mounted on a camera body for ready use, and this one was especially ideal for around-the-house needs.

A wide range of focal lengths can be utilized for street photography, but 50mm was the perfect choice for photographing the Tunkhannock Viaduct.

This angle of view takes in a large portion of the bridge while inviting a perspective that keeps the far end of the structure relatively large in the frame.

The 50mm focal length and f/1.2 aperture combination afford innumerable artistic opportunities, including those found in nature.

To visualize where 50mm fits among other common focal lengths, I'll borrow a focal length range example from a zoom lens review.

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On an ASP-C/1.5x sensor format body, the 50mm focal length provides an angle of view similar to a 75mm lens on a full-frame sensor format body. Uses for this angle of view coincide with most uses of the 50mm focal length, with modestly tighter framing or modestly longer perspective for the same framing being the difference. The APS-C angle of view favors more tightly framed portraits.

Max Aperture

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The Sony FE 50mm f/1.2 GM Lens's massive f/1.2 aperture opening is unsurpassed by an AF interchangeable lens.

What is the difference between f/1.2 and f/1.4? 0.44 stops. An f/1.2 aperture has a 17% larger diameter that creates a 40% larger aperture area vs. an f/1.4 lens for an additional 0.44 stops of light, and that difference is directly reflected in this lens's capabilities.

An ultra-wide f/1.2 aperture allows vast amounts of light to reach the imaging sensor, providing substantial benefits. Use that light to enable action (subject and camera) stopping shutter speeds in low light levels, along with low ISO settings for reduced noise. It seems there is always enough light for handholding 50mm at f/1.2.

Another advantage of a wide aperture lens is the background blur it can create. F/1.2 with a close subject creates a shallow DOF, drawing the viewer's eye to the in-focus subject. Longer focal lengths more strongly magnify a background blur, but with an f/1.2 aperture, this 50mm lens can also do that, extending this lens's artistic capabilities.

The lens was focused well beyond its minimum focus distance to create this comparison.

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Compare your current 50mm lens's widest aperture to f/1.2.

This lens can even turn a messy kitchen into a soft background.

The image below illustrates the strongest background blur this lens can create.

If you are shooting at f/1.2 under direct sunlight, expect to need at least a 1/8000 sec shutter speed to avoid over-exposure at ISO 100. Positive is that 1/8000 sec. will stop most action photographers encounter, but if the subject has bright or reflective colors, even 1/8000 might not be fast enough to avoid blown highlights.

Some cameras have an extended ISO setting as low as 50 that can optionally be used in this situation. However, dynamic range is often impacted. Optimal is to use a camera featuring shutter speeds faster than 1/8000, but using a neutral density filter is also a good solution to retaining the use of f/1.2 under direct sunlight when a shutter speed limitation is exceeded. Stopping down (narrowing) the aperture is always an option for preventing over-exposure, though stopping down negates the need for and benefit of the wide f/1.2 aperture, and the subject-isolating shallow depth of field is sacrificed.

The notable drawbacks of lenses with wide maximum apertures relate to the larger, heavier lens elements required by the optical design. Those larger elements translate directly into larger, heavier, and more expensive lenses. Impressive is that this 50mm f/1.2 lens is insignificantly larger and heavier than its f/1.4 sibling, though the larger elements are evidenced by the increased price.

Sigma includes an iris (aperture) ring on this lens, permitting a ring-selected aperture. With the ring in the A (Auto) position, the camera controls the aperture setting. All other settings force the aperture to the selected opening, and a 2-position switch on the bottom-left side of the lens toggles between 1/3 stop clicks and smooth, quiet, non-clicked adjustments ideal for video recording. An iris ring lock switch on the right side of the lens enables only the A (Auto) setting or only the full range of manual settings to be locked.

Image Stabilization

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The Sigma 50mm F1.2 DG DN Art Lens does not feature image stabilization. Omitting the optical stabilization system reduces size, weight, complexity, and cost. However, image stabilization is a useful feature.

Sony addresses that omission with Steady Shot IBIS (In-Body Image Stabilization) in their Alpha cameras. In addition to reducing camera shake, the stabilized imaging sensor provides a still viewfinder image, enabling careful composition. Furthermore, sensor-based AF takes advantage of the stabilized view for improved accuracy.

With no IS switch on the lens, the camera menu must be used to enable or disable IBIS or check the current settings. This extra step is an impediment to working quickly, such as when going from tripod mounted to handholding.

Image Quality

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F/1.2 is awesome, and it is a primary reason to buy this lens. That said, we will only want to use f/1.2 if it produces sharp image quality, and wide aperture 50mm lenses historically have delivered soft wide-open results. Only one year prior, Sigma gave us the 50mm F1.4 DG DN Art Lens. That lens is a great wide-open performer, and it raises expectations for a similar performance from the f/1.2 model.

The Sony FE 50mm f/1.2 GM Lens makes wide-open image quality concerns unnecessary, and it is easy to describe the great image quality this lens provides. At f/1.2, this lens produces great sharpness across the entire full-frame image circle, and with a slight contrast and resolution improvement at f/1.4, it becomes razor-sharp.

Lenses typically show decreased sharpness in the periphery of the image circle, where light rays are refracted to a stronger angle than in the center. While this lens's corner sharpness is not quite as great as its center performance, it is impressive. Primarily, reduced peripheral shading is noticed at narrower apertures, improving the corner contrast.

The resolution chart is brutal/merciless on image quality, so let's take the testing outdoors, next looking at a series of center-of-the-frame 100% resolution crop examples. These images were captured in RAW format using a Sony Alpha 1 and processed in Capture One using the Natural Clarity method. The sharpening amount was set to only "30" on a 0-1000 scale. Note that images from most cameras require some level of sharpening, but too-high sharpness settings are destructive to image details and hide the deficiencies of a lens.

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Be sure to find details in the plane of sharp focus for your evaluations. These results look great, and f/1.2 use is green-lighted.

Next, we'll look at a series of comparisons showing 100% resolution extreme top left corner crops captured and processed identically to the above center-of-the-frame images. The lens was manually focused in the corner of the frame to capture these images.

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Count on samples taken from the outer extreme of the image circle, full-frame corners, to show a lens's weakest performance. Still, these results are outstanding. Stopping down reduces peripheral shading, which increases contrast.

This lens does not exhibit focus shift, the plane of sharp focus moving forward or backward as the aperture is narrowed (residual spherical aberration or RSA).

When used on a camera that utilizes its full image circle, a lens is expected to show peripheral shading at the widest aperture settings. As mentioned, this lens shows some corner shading, nearly 3 stops at f/1.2.

Want less corner shading? Choose a narrower aperture. The difference at f/1.4 is minor, but the corner shading drops to about 2 stops at f/2. The reduction rate at narrower apertures slows quickly, and just under 1.5 stops of shading is present at f/4. Only a minor reduction is seen through f/16.

APS-C format cameras using lenses projecting a full-frame-sized image circle avoid most vignetting problems, and in this case, the about one-stop of corner shading showing at f/1.2 may be visible in select images, primarily those with a solid color (such as a blue sky) in the corners.

One-stop of shading is often considered the number of visibility, though subject details provide a widely varying amount of vignetting discernibility. Vignetting is correctable during post-processing, with increased noise in the brightened areas the penalty, or it can be embraced, using the effect to draw the viewer's eye to the center of the frame. Study the pattern shown in our vignetting test tool to determine how your images will be affected.

Lateral (or transverse) CA (Chromatic Aberration) refers to the unequal magnification of all colors in the spectrum. Lateral CA shows as color fringing along lines of strong contrast running tangential (meridional, right angles to radii), with the mid and especially the periphery of the image circle showing the most significant amount as this is where the most significant difference in the magnification of wavelengths typically exists.

With the right lens profile and software, lateral CA is often easily correctable (often in the camera) by radially shifting the colors to coincide. However, it is always better to avoid this aberration in the first place.

Color misalignment can be seen in the site's image quality tool, but let's also look at a worst-case example. The image below is a 100% crop from the extreme top left corner of an a1 frame showing diagonal black and white lines.

Only black and white colors should be present in these images, with the additional colors indicating the minor presence of lateral CA.

A relatively common lens aberration is axial (longitudinal, bokeh) CA, which causes non-coinciding focal planes of the various wavelengths of light. More simply, different colors of light are focused to different depths. Spherical aberration, along with spherochromatism, or a change in the amount of spherical aberration with respect to color (looks quite similar to axial chromatic aberration but is hazier) are other common lens aberrations to observe. Axial CA remains somewhat persistent when stopping down, with the color misalignment effect increasing with defocusing. The spherical aberration color halo shows little size change as the lens is defocused, and stopping down one to two stops generally removes this aberration.

In the real world, lens defects do not exist in isolation, with spherical aberration and spherochromatism generally found, at least to some degree, along with axial CA. These combine to create a less sharp, hazy-appearing image quality at the widest apertures.

The examples below look at the defocused specular highlights' fringing colors in the foreground vs. the background. The lens has introduced any fringing color differences from the neutrally colored subjects.

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The color fringing is strong at f/1.2 and gradually improves as the aperture is narrowed.

Bright light reflecting off lens elements' surfaces may cause flare and ghosting, resulting in reduced contrast and sometimes interesting, usually objectionable visual artifacts. The shape, intensity, and position of the flare and ghosting effects in an image are variable, dependent on the position and nature of the light source (or sources), selected aperture, shape of the aperture blades, and quantity and quality of the lens elements and their coatings. Additionally, flare and ghosting can impact AF performance.

This lens features Sigma's Super Multi-Layer Coating to suppress flare and ghosting, though the moderately high 17-element count increases the challenge in this regard. This lens produced practically no flare effects even at f/16 in our standard sun in the corner of the frame flare test, reflecting excellent performance.

Flare effects can be embraced or avoided, or removal can be attempted, though removal is sometimes challenging. Thus, this lens's high flare resistance is a welcomed trait.

Two lens aberrations are particularly evident in images of stars, mainly because bright points of light against a dark background make them easier to see. Coma occurs when light rays from a point of light spread out from that point instead of being refocused as a point on the sensor. Coma is absent in the center of the frame, gets worse toward the edges/corners, and generally appears as a comet-like or triangular tail of light that can be oriented either away from the center of the frame (external coma) or toward the center of the frame (internal coma). The coma clears as the aperture is narrowed. Astigmatism is seen as points of light spreading into a line, either sagittal (radiating from the center of the image) or meridional (tangential, perpendicular to sagittal). This aberration can produce stars appearing to have wings. Remember that Lateral CA is another aberration apparent in the corners.

The image below is a 100% crop taken from the top-left corner of an a1 image captured at f/1.2.

Though star micro stretching is visible, this result is impressive and among the best I've seen.

This lens has slight pincushion distortion. Correction is not necessary except for the most technical results.

As seen earlier in the review, it is easy to illustrate the strongest blur a lens can create. Due to the infinite number of variables present among available scenes, assessing the blur quality, bokeh, is considerably more challenging. Here are some f/11 (for diaphragm blade interaction) 100% crop examples.

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The lens's diaphragm blades must close significantly to turn f/1.2 into f/11. As these blades close, the opening becomes less rounded, and though curved, the blade edges become discernible in the blur, straightening edges and creating angles between the blades. To offset that detriment, Sigma used 13 aperture blades, reducing the visibility of each blade.

Out of 557 lenses in the site's database, only this one has more than 11 blades. The high blade count design is effective, and the specular highlights remain impressively round at f/11.

Except for a small number of specialty lenses, the wide aperture bokeh in the frame's corner does not show round defocused highlights, instead showing cat's eye shapes due to a form of mechanical vignetting. If you look through a tube at an angle, similar to the light reaching the frame's corner, the shape is not round. That is the shape we're looking at here.

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The shapes in the f/1.2 corners show strong truncation. As the aperture narrows, the entrance pupil size is reduced, and the mechanical vignetting diminishes, making the corner shapes rounder, becoming nearly perfect at f/4.

When the diaphragm is narrowed, point light sources will show a sunstar effect (diffraction spikes) of some form. Each blade is responsible, via diffraction, for creating two points of the star effect. If the blades are arranged opposite of each other (an even blade count), the points on the stars will equal the blade count as two blades share in creating a single pair of points. The blades of an odd blade count aperture are not opposing, and the result is that each blade creates two unshared points. This lens's 13-blade count times two points equates to the most star points I've seen — 26.

The designs for good sunstars and round bokeh are at odds with each other, but this star, captured at f/16, has a good shape.

The design of this lens is illustrated above.

The biggest optical drawback of this lens is the moderately strong color fringing at wide apertures. That deficit is not unusual for this lens class, and otherwise, the Sigma 50mm F1.2 DG DN Art Lens is a stellar performer, delivering impressively sharp images even at f/1.2.

Focusing

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Sigma's HLAs (High-response Linear Actuators) got the call to drive 50mm F1.2 Art Lens AF. "This high-output linear motor and advanced electronic control realize a quiet autofocus with unparalleled high speed and high precision." [Sigma] Add "Dual" to the front, as this lens moves two sets of elements.

This lens smoothly focuses fast and with consistent accuracy. It also focuses quietly, with only a barely detectable shuffling heard.

This lens's f/1.2 aperture is tremendously advantageous for Low-light AF, one of its specialties. While AF slows in a dark environment, the Sony Alpha 1 can lock focus with this lens on reasonable contrast in extremely dark scenarios, scenarios too dark for me to navigate in.

A customizable AFL (Autofocus Lock) button is provided. With the camera set to continuous focus mode, press AFL to lock focus at the currently selected focus distance, permitting a focus and recompose technique. This button also functions as a custom button to be programmed to a desired function using the camera's menu.

This lens has an AF/MF switch, which allows you to quickly change this frequently used camera setting without accessing the menu system.

It is normal for the scene to change size in the frame as the focus is pulled from one extent to the other. This effect is focus breathing, a change in focal length resulting from a change in focus distance. Focus breathing impacts photographers intending to use focus stacking techniques, videographers pulling focus (without movement to camouflage the effect), and anyone critically framing while adjusting focus.

This lens produces a moderately strong change in subject size through a full-extent (worst-case) focus distance adjustment.

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Sigma consistently provides a great manual focus experience with its Art lenses, and this lens features the same. The sharp-ribbed, rubber-coated focus ring is large and, being raised from the lens barrel behind it, is easy to find. The focus ring is smooth, has nice resistance, and, when turned slowly, the 360° of MF rotation adjusts focus at a rate enabling precise manual focusing even at close distances.

This is a variable-response MF ring. Turn it quickly, and about 180° of rotation will complete the full-extent focus distance adjustment. While I usually prefer a linear-response MF ring, this lens's multi-speed adjustment rate works well.

This lens has a minimum focus distance of 19.7" (500mm), and it generates a mediocre 0.16x maximum magnification spec.

Model	Min Focus Distance		Max Magnification
Canon RF 50mm F1.2 L USM Lens	15.7"	(400mm)	0.19x
Sigma 50mm F1.2 DG DN Art Lens	19.7"	(500mm)	0.16x
Sigma 50mm F1.4 DG DN Art Lens	17.7"	(450mm)	0.15x
Sigma 50mm F2 DG DN Contemporary Lens	17.7"	(450mm)	0.14x
Sony FE 50mm F1.2 GM Lens	15.7"	(400mm)	0.17x
Sony FE 50mm F1.4 GM Lens	16.1"	(410mm)	0.16x

At this lens's minimum MF distance, a subject measuring approximately 15.8 x 10.5" (401 x 267mm) fills a full-frame imaging sensor.

The USPS love stamps shared above have an image area that measures 1.05 x 0.77" (26.67 x 19.558mm), and the overall individual stamp size is 1.19 x 0.91" (30.226 x 23.114mm).

While this lens produces sharp center of the frame details at f/1.2 and minimum focus distance, expect the image periphery to be moderately soft due to field curvature, and lateral CA is increased. F/11 brings on increased depth of field that provides significant improvement in corner sharpness.

Mount an extension tube behind this lens to significantly decrease the minimum focus distance and increase the magnification. As of review time, Sigma does not publish extension tube specs or manufacture them, but third-party extension tubes are available.

This lens is not compatible with Sigma teleconverters.

Design & Features

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Sigma's Art lenses are aesthetically beautiful and well-constructed.

The Sigma 50mm F1.2 DG DN Art Lens features a primarily TSC (Thermally Stable Composite) exterior. "TSC is a state-of-the-art polycarbonate that is designed to be both lightweight and extremely durable, and its chemical makeup means it doesn't shrink or expand with changing temperatures. This material is so high-quality that we're also incorporating it into our Art and Sports lenses to provide lightness and thermal consistency." [Sigma]

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Most of this lens's exterior features have already been discussed and are nearly identical to those of the 50mm F1.4 DG DN Art Lens. The AF/MF switch and AFL buttons share a shallow switch panel, making them easy to locate. The click switch is just below the panel, and the aperture lock is positioned on the right side of the lens for easy grip hand access.

The 2-position switches snap crisply into position and display a white background when the enabled position is selected.

This lens's weather sealing can save the day, trip, event, shoot, etc.

A water and oil-repellent coating repels dust and moisture from the front element, making it significantly easier to clean.

I'll call the Sigma 50mm F1.2 DG DN Art Lens medium-sized and medium-weighted. While there are many smaller and lighter lenses available, no other full-frame mirrorless lens with AF and an f/1.2 aperture weighs as little as this one. The size and weight of this lens affords long periods of comfortable use.

Model	Weight oz(g)		Dimensions w/o Hood "(mm)		Filter	Year
Canon RF 50mm F1.2 L USM Lens	33.5	(950)	3.5 x 4.3	(89.8 x 108.0)	77	2018
Sigma 50mm F1.2 DG DN Art Lens	26.1	(740)	3.2 x 4.4	(81.0 x 110.8)	72	2024
Sigma 50mm F1.4 DG DN Art Lens	23.3	(660)	3.1 x 4.4	(78.2 x 111.5)	72	2023
Sigma 50mm F2 DG DN Contemporary Lens	7.9	(225)	2.8 x 2.8	(70.0 x 70.0)	58	2023
Sony FE 50mm F1.2 GM Lens	27.5	(778)	3.4 x 4.3	(87.0 x 108.0)	72	2021
Sony FE 50mm F1.4 GM Lens	18.2	(516)	3.2 x 3.8	(80.6 x 96.0)	67	2023

For many more comparisons, review the complete Sigma 50mm F1.2 DG DN Art Lens Specifications using the site's lens specifications tool.

Here is a visual comparison:

Positioned above from left to right are the following lenses:

Sony FE 50mm F1.2 GM Lens
Sigma 50mm F1.2 DG DN Art Lens
Canon RF 50mm F1.2 L USM Lens

The same lenses are shown below with their hoods in place.

Use the site's product image comparison tool to visually compare the Sigma 50mm F1.2 DG DN Art Lens to other lenses.

This lens uses common, mid-sized, mid-priced 72mm filters.

Sigma lenses ship with the hood included, the Sigma LH782-03 Lens Hood in this case.

The LH782-03's petal shape is optimized to block as much flare-inducing light outside the utilized image circle as possible, and the size of this hood provides considerable front element protection from dust, water, fingers, limbs, etc. The petal shape looks great and is easier to align for installation (simply align the small petal to the top), though a round-shaped hood enables the lens to stand better on its hood. The hood's interior is ribbed for reduced internal reflections.

A push-button release makes hood installation and removal smooth. The LH782-03's semi-rigid plastic build absorbs some impact and adds a layer of physical protection to the camera and lens.

Sigma once again provides my favorite packing material in the box: a nice zippered, padded nylon case. The back of the case has a web belt loop stitched onto it.

Price, Value, Compatibility

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The Sigma 50mm F1.2 DG DN Art Lens is a high-performing, well-built lens with the lowest full-frame mirrorless AF lens price. That price is moderate, and this lens is a great value.

The Sigma 50mm F1.2 DG DN Art Lens is compatible with all Sony E-mount cameras, including APS-C sensor format models, and it is also available in the L mount (Sigma, Panasonic, Leica).

Made in Japan, each Art lens is tested with Sigma's proprietary MTF measuring system, ensuring a quality product. Regarding the Sony E-mount version of this lens, Sigma develops, manufactures, and sells lenses based on the specifications of the E-mount, disclosed by Sony Corporation under license agreement.

Sigma provides a 1-year limited warranty, and Sigma USA provides a limited 3-year warranty extension.

The reviewed Sigma 50mm F1.2 DG DN Art Lens was on loan from Sigma Corporation of America.

Alternatives

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There is no shortage of 50mm lens options, so let's look at some of the widest aperture alternatives. A direct spec-matching competitor to this Sigma lens is the Sony FE 50mm F1.2 GM Lens.

The image quality difference between these lenses is challenging to discern. The Sigma lens appears to have a tiny sharpness advantage in the center of the frame. It also has a tiny geometric distortion advantage.

The Sigma 50mm F1.2 DG DN Art vs. Sony FE 50mm F1.2 GM Lens comparison primarily shows the Sony lens is modestly wider (0.24", 6mm). The Sigma lens has 13 aperture blades vs. 11 and an aperture ring lock switch vs. no. The Sony lens has two AFL buttons vs. one. The Sigma lens's primary advantage is its significantly lower price.

Sigma released the similar appearing 50mm F1.4 DG DN Art Lens about a year before announcing the f/1.2 lens.

The image quality comparison with wide-open apertures shows the f/1.2 lens slightly sharper. The comparison equalized at f/1.4 gives the f/1.2 a bigger advantage, especially in the center of the frame. The f/1.2 lens has significantly less geometric distortion, and the wider aperture gives this lens a modest peripheral shading advantage at equivalent apertures, including narrow ones.

A larger aperture opening requires larger lens elements, which increase the size and weight of the lens. Surprising is how minor the differences are in the Sigma 50mm F1.2 vs. 50mm F1.4 DG DN Art Lens comparison. The 2.8 oz (80g) weight and 0.11" (8.8mm) diameter penalties for the 0.44 stop wider aperture are barely noticeable, and they even share the same 72mm filter thread diameter. The f/1.2 lens has 13 aperture blades vs. 11. The primary advantage of the f/1.4 lens is the significantly lower price.

Let's compare against the Sony FE 50mm F1.4 GM Lens next.

In the image quality comparison with wide-open apertures, the Sony lens is slightly sharper in the center of the frame, and the Sigma lens is slightly sharper in the middle and periphery of the image circle. F/1.4 equalizes the center-of-the-frame performance and increases the Sigma lens's peripheral advantage. The Sigma lens has slightly less geometric distortion.

The Sigma 50mm F1.2 DG DN Art Lens vs. Sony FE 50mm F1.4 GM Lens comparison shows the expected f/1.4 weight advantage (26.1 vs. 18.2oz, 740 vs. 516g). The f/1.4 lens is also modestly shorter and uses 67mm filters vs. 72mm, while the Sigma lens has 13 aperture blades vs. 11. The Sony lens is slightly less expensive.

There are many other 50mm lenses available. Use the site's tools to create additional comparisons.

Summary

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The Sigma 50mm F1.2 DG DN Art Lens features a high utility focal length, an extremely wide aperture, impressive optical quality, great build quality, an aesthetically pleasing appearance, and a moderate price. To say that combination is inviting is an understatement.