Sigma sd Quattro

      Photo Review 8.5

      In summary

      Once again, Sigma has produced an interesting camera for fans of Foveon sensors (as we are), this time addressing the criticisms we raised when reviewing the two fixed-lens dp Quattro cameras. The dp3 Quattro won’t suit everyday snapshooters and may not be ideal for some photo enthusiasts.

      It is difficult to rate this camera because it can’t be compared with cameras that have standard Bayer-filtered sensors. The Foveon sensor makes it as ponderous to use as its dp Quattro siblings and, although the shutter is quite responsive, we found autofocusing was frequently slow.  

      However, the image quality we obtained from the review camera was superb. JPEG shots had an abundance of detail and the subtle nuances in skin tones were beautifully captured, particularly when taken with the S-HI setting.

      Shots taken with the SFD setting were even better and the wealth of image data in raw files provided a great basis for subsequent tweaking to produce TIFF files with abundant detail and colour depth.

      The Foveon sensor is hard to beat if you’re after rich colour rendition and detail that rivals the best DSLRs we’ve reviewed.  


      Full review

      At CP+ in February, Sigma announced two mirrorless interchangeable-lens cameras: the sd Quattro and the sd Quattro H, distinguished by the size and resolution of their sensor chips. The sd Quattro we received for this review, is the first interchangeable-lens model since the SD1 Merrill DSLR (which we didn’t review). It has the same Sigma SA lens mount as the SD1 and also uses an APS-C sized sensor. However, it uses a newer chip with higher resolution; equivalent to a 39 megapixel Bayer-pattern sensor. (The sd Quattro H has a larger APS-H format sensor.)


       Angled view of the Sigma sd Quattro, as reviewed, with the Sigma 30mm f/1.4 Art lens. (Source: Sigma.)

      When we reviewed the fixed-lens dp3 Quattro in April 2015, we expressed a wish that ‘Sigma would produce an interchangeable-lens camera based around the new sensor. Preferably with a built-in viewfinder (a high-resolution EVF would be ideal).’ The sd Quattro has fulfilled   both these wishes and also addressed many of the deficiencies we outlined in our review of the dp3 Quattro. It has a better body design and power management is significantly improved.

      Some of the fixed-lens camera’s limitations still remain, however (see below). However, the Foveon sensor is hard to beat if you’re after rich colour rendition plus detail that rivals the best DSLRs we’ve reviewed.

      The review camera was supplied with the Sigma 30mm f/1.4 Art lens, which is covered in a separate review. This lens has an angle of view equivalent to a 45mm lens in 35mm format, which is marginally wider than a standard 50mm prime.

      Who’s it For?
      Let’s get a few things out of the way to start with. First and foremost, the sd Quattro is NOT a compact camera; it’s bigger than most entry-level DSLRs and also heavier. You won’t be able to slip it into a pocket and you’ll need a pretty large handbag to accommodate it.

      Its body shape isn’t as radical as the dp Quattro models but it’s certainly not inconspicuous. And it can be frustratingly slow to use, particularly when you shoot raw files.

      Sigma cameras cater for a niche market: serious stills photographers who would best be described as ‘imaging geeks’.  Purchasers of this camera will be generally photographers who know about the Foveon technology and are prepared to shoot and work with the X3F.RAW files to obtain the best from them.  

      If you can tolerate the limitations listed above, you’ll probably love the sd Quattro, delighting in its ability to reproduce fine details and its rich colour reproduction. The sensor works best in moderately bright lighting, and with colourful subjects. The kit supplied ““ with the 30mm f/1.4 Art lens ““ suits a number of photographic genres, including landscape and architectural photography, street photography and general photojournalism.

      What’s Missing?
       Point-and-press snapshooters and video enthusiasts should look elsewhere. There’s no auto mode on this camera and no scene pre-sets to assist novice users. Furthermore, Foveon sensors cannot record movies.

      While most other cameras offer sensitivities up to ISO 25,600, the sd Quattro maxes out at ISO 6400. Continuous shooting is restricted to 3.7 frames/second (or 4.3 fps at low resolution) and the buffer memory can only accommodate 12 high-resolution JPEGs or raw files.

      No stabilisation is provided in the camera, which means you need to buy stabilised lenses. And the only dust protection is a removable cover that clips into the lens mount. Not an ideal solution in our opinion.

      There’s no built-in flash, although a hot-shoe is provided for accessory flashguns and Sigma offers a compatible EF-630 flash, which can be updated with the latest software from a computer using the Sigma Optimization Pro software and Flash USB Dock FD-11.

      Connected photographers who want a camera for image sharing should also look elsewhere since the sd Quattro lacks Wi-Fi integration. No facilities are available for recording and stitching panorama sequences in the camera.

      Build and Ergonomics
       You can’t complain about the build quality of Sigma cameras. Both models have magnesium alloy bodies with dust- and splash-proof construction and come with high-resolution EVFs and 3-inch monitors. Once again, Sigma has opted for distinctive and innovative styling.

      Relatively large for a mirrorless camera, the sd Quattro is quite different from the cameras that preceded it. It doesn’t look like a DSLR, although it’s not much like a rangefinder camera either. From the front, the camera has an unusual stepped profile.


       Front view of the sd Quattro with no lens fitted. (Source: Sigma.)

      The locking button for the lens is located low on the front panel between the lens mount and the grip moulding. The grip is large and comfortable to hold, thanks to a well-placed indentation for your index finger. On top are the shutter button and surrounding front dial with the Quick Set button just behind them.

      Quick Set functions available via this button include the drive mode, white balance, tone control, focus peaking, image quality and size, aspect ratio and colour mode. The Quick Set menu can also be customised to include any eight of 22 functions, among them being ISO   sensitivity, flash controls, monitor and EVF brightness and bracketing. Only eight functions can be displayed at a time, although you can re-set the positions of these functions.  

      The only other items on the front panel are flash sync terminal, which is located beneath a rubber cap on the top left hand corner of the front panel, and an AF-assist LED which is embedded in the front panel just below the top panel and left of the grip moulding. The AF- assist lamp can operate over a distance of roughly three metres but it is obscured when the lens hood is attached.


       The top panel of the sd Quattro with no lens fitted. (Source: Sigma.)

       The top panel is mostly flat but steps down just beyond the lens mount. The lens mount that dominates the front panel is much deeper than usual and the camera’s power switch is located on top of it, just left of the prominent white line for the lens mount index.

      The viewfinder housing straddles this step and protrudes for roughly half its length beyond the rear panel. A dioptre adjustment dial is inset into the right hand edge of the housing. Left of the viewfinder housing is a standard hot shoe, which is set into the top panel. To its right are the lock switch and rear dial. Strap eyelets are located just below the top panel on either side of the camera.

      By default, the front dial adjusts the lens aperture in the A and M shooting modes or the shutter speed in the S mode. When the P mode is selected it is used for program shifting. The rear dial changes the shutter speed in the M mode or the EV compensation in the other three modes. Users can customise the functions of the front and rear dials and also reverse each dial’s rotation direction.


       The rear panel of the sd Quattro showing the Quick Menu display on the main monitor and camera settings on the secondary screen. (Source: Sigma.)
      Just above the monitor on the rear panel is a selector lever that allows you to choose between the EVF and monitor screens. Between these settings is an Auto position that includes eye detection and will switch to the EVF automatically when the camera is raised to your eye.

      The main monitor is a 3-inch   TFT colour LCD with approx. 1,620,000 dots. It’s split into two sections: on the left is the main colour screen for displaying the live image or camera menu, while the smaller screen on the right is a sub-monitor that shows camera settings and data like battery capacity in real time. Ranged down the right hand side of the monitor are buttons for accessing the sub-monitor light, EV compensation, ISO, metering mode and shooting mode settings.

      The sub monitor and EVF screen can be set to adjust their brightness automatically in response to changing light conditions. Manual adjustments for both are also available. You can switch the rear screen off if you want, and just use the small sub-display. Alternatively, both screens can be switched off to conserve battery power.  

      The size of the icons displayed on the monitor and EVF can be changed to make them more legible. Users can also determine which modes will be displayed. Grid line overlays are also available, along with a brightness histogram and electronic level display. (RGB histograms are available in playback mode, along with highlight alerts.)

      Lined up above the monitor   on the left of the EVF eyepiece are the Display button, monitor switch and a small speaker grille. Below the monitor you’ll find the Playback button, busy LED and AF Mode/Delete button.

      There’s a fairly conventional arrow pad to the right of the monitor with a central OK button and directional selector buttons. Below it lie the focus point selector and Menu button, while above it is the AF/AE   selector switch.

      Although the sd Quattro’s control layout isn’t exactly conventional, it’s not wildly different from other cameras and we found the review camera pleasant to use.   The spacing between the buttons was large enough to minimise accidental mis-triggering and the buttons themselves felt nice and solid.

      The single SD card slot   has its own compartment in the right hand side panel, just below the strap eyelet. The battery is located in the grip moulding, with a locking hatch on the base plate. Also on the base plate are a metal lined tripod socket (in line with the lens axis) and a contact for the optional PG-41 power grip, covered by a rubber patch.

      Only one BP-61 battery is supplied with the camera, which is odd, since its rated capacity is only 235 shots/charge. The dp2 and dp3 Quattro models, which were rated for 200 shots/charge came with two batteries. It seems Sigma expects buyers of the sd Quattro to invest in the PG-41 power grip, which can hold up to two batteries.

      Alternatively, you can switch on the Eco Mode in the Camera Settings (tools) menu.  This setting reduces battery drain by decreasing the monitor’s brightness and frame rate when the camera hasn’t been used for 10 seconds. It’s default setting is off.

      Sensor and Image Processing
       We have covered the Foveon X3 Quattro sensor quite thoroughly in our review of the dp2 Quattro in September 2014 and feel there’s no need for further explanations of its features and capabilities. The sd Quattro has the latest generation Foveon X3 Quattro chip, which boasts 30% higher resolution and improved noise characteristics.

      Its structure is essentially the same as the original Foveon X3 Quattro, with red, green and blue pixels in a 1:1:4 ratio. The top layer captures luminance and colour information in the blue light band, while the bottom two layers capture colour information for green and red.

      No low-pass filter is needed to minimise moirø©, although there is an infrared (IR) filter in front of the sensor. This filter is removable if you want to use the camera for infrared photography but you’ll need an infrared filter to block the visible light.

      Two of Sigma’s TRUE (Three-layer Responsive Ultimate Engine) III processor chips are required for high-speed processing of the high volume of data from the sensor, instead of just the single chip used in the dp Quattro cameras. Proprietary algorithms process the data without loss of colour detail or other image degeneration to deliver detailed images with rich colours.

      Like the dp Quattro cameras, the sd Quattro supports both raw and JPEG formats and offers a two image sizes for X3F.RAW files, as well as six aspect ratios each with four size options for JPEG capture.  Interestingly, the highest resolution (a maximum of 7680 pixels in width) is only available with the S-HI JPEG setting. The table below shows what’s available.




      File size




      5424 x 3616

      50.4 MB


      2704 x 1808



      Aspect ratio

      Image size







      7680 x 3296



      5424 x 2328



      2704 x 1160



      1920 x 816




      7680 x 4320



      5424 x 3048



      2704 x 1520



      1920 x 1080




      7680 x 5120



      5424 x 3616



      2704 x 1808



      1920 x 1280




      6816 x 5120



      4816 x 3616



      2400 x 1808



      1696 x 1280




      6352 x 5120



      4480 x 3616



      2224 x 1808



      1584 x 1280




      5120 x 5120



      3616 x 3616



      1808 x 1808



      1280x 1280


      The camera also has a SFD (super fine detail) mode that records seven frames in quick succession, varying the exposure level between shots to capture the maximum dynamic range.  The shots are combined in the camera to create RAW data in the X3I file format.

      The SFD mode is located on page two of the Capture Settings menu and usable with the A and M exposure modes. Sensitivity is locked at ISO 100. To reduce the risk of displacements between successive frames, the camera should be tripod mounted. The self-timer can be used to trigger the exposure sequence.

      X3I files must be opened in the Sigma Photo Pro software, which can also be used to create individual X3F files from X3I files. The software manual, which is supposed to explain the process, is unclear about how to combine the images in the X3I files but, fortunately, we are able to show you clear differences between the results from them and JPEG images.


       The image on the left shows a JPEG image captured with S-HI resolution, while the one on the right is an S-HI JPEG image produced from an X3I file that was processed in Sigma Photo Pro.

      If you play an X3I file back in the camera, the frames are displayed in order from under-exposure to over-exposure. In index view, the thumbnail from the standard exposure is shown. If the *.X3I file is deleted, all seven frames are lost.

      The sd Quattro can record up to 12 RAW images (X3F files) in High size during continuous shooting or up to 24 images when the Low size is used. This is roughly double the buffer capacity of the dp Quattro cameras. However the frame rate is sluggish at a meagre 3.7 for for both   JPEG and RAW files, rising to 4.3 fps when Low resolution is selected.

      Focusing and Exposure
       The only way to switch between auto and manual focusing is via the switch on the lens. In manual mode, focus peaking can be set via either the Capture Settings pages in the menu or the Quick Set button on the top panel. You can choose between black, white, yellow and red for the outlining colour.

      When AF is selected, the focusing frame glows green if the subject it contains is in focus when the shutter button is half-pressed. The frame blinks when focus can’t be achieved.

      The autofocusing system in the sd Quattro combines phase detection and contrast detection. Users can choose between single (the default) and continuous AF and release and focus priority. With the default focus priority setting, the shutter can’t be released until the subject is focused.

      Once the AF setting has been determined, pressing the focus point selector lets you choose between   two focusing modes: 9 points select and free move. The former lets you select a desired focus point from one of nine points clustered in 3 x 3 array at the centre of the screen. You can move from one point to the next with the arrow pad’s directional buttons.

      When the free move mode is selected, the arrow pad’s directional buttons let you move to any point inside the focusing area and doesn’t restrict you to a marked AF point. Rotating the front or rear dial lets you change the size of the focus frame. Pressing the OK button confirms the focus.

      When you want face detection AF you must select it in the camera’s menu. It’s the last item on the last page of the Capture Settings sub-menu. Once this has been done, pressing the display and focusing point selector buttons toggle face detection on and off.

      An orange frame is superimposed on faces that are detected; it turns green when the area is in focus. In face detection mode, the AE metering mode measures the area(s) in the face detection ‘boxes’. Up to eight faces can be detected in a single scene.

      The sd Quattro offers only four shooting modes: P, A, S and M. Pressing the Mode button lets you toggle between them and three Custom modes in which you can store pre-set exposure patterns that include EV compensation, aperture/shutter speed values, sensitivity and metering pattern as well as the P, A, S or M mode. New Custom settings are stored by pressing the Mode button when the C mode is selected.  

      The sd Quattro  also supports the same in-camera colour modes as the dp2  and dp3 Quattros. Options include the default Standard setting plus the following:


      Vivid, which boosts saturation and contrast;


       Neutral, which subdues saturation and contrast;


      Landscape, which makes blue and green more vivid;


       Cinema, which reduces saturation and emphasises shadows to emulate a cinematic mood;


       Sunset Red, which boosts reds to make sunsets look more impressive;


       Forest Green, which increases greens to make plants more vibrant;


       Foveon Classic Blue, which adds a rich blue tone to blue skies;


       Foveon Classic Yellow, which emphasises yellows; and


      Monochrome for black and white photography.

      A Portrait setting, which softens skin tones, is also available. These adjustments can also be applied to X3F.RAW files when converting them into JPEG or TIFF format. Monochrome conversion is made by selecting the Monochrome mode, which opens a menu of relevant adjustments.

      Users can set the camera to embed copyright information automatically in image fiels. An alphanumeric keyboard will be displayed on the monitor and users can select each character with the arrow pad and press the OK button to enter it.

      Different file naming systems can be selected to differentiate between shots taken in the sRGB and Adobe RGB colour spaces. In-camera raw file processing to JPEGs is available, along with slideshow playback with a choice between two, five and 10-second duration times and repeat or stop at the last image.

       If you want to convert the X3F.RAW files or X3I files captured with the SFD mode into editable TIFF or JPEG formats, there’s only one option: Sigma’s Photo Pro. It’s terribly slow and the manual is opaque if you want to go beyond basic adjustments. But it contains all the main adjustments you need to tweak raw files as they are processed. Once you learn its ways, you’ll find it usable; and best of all, it’s free.

       The review camera performed much as we expected, based upon our experiences with previous Sigma cameras. JPEGs were sharp and detailed with similar colour rendition to the dp2 and dp3 cameras we’ve reviewed. Tonal subtleties were reproduced very well, particularly in skin tones, making this camera very good for portraiture. No moirø© was visible in any of our test shots.

      In our Imatest tests, both JPEG and X3F.RAW files converted into 16-bit TIFF format exceeded expectations for the sensor’s resolution, the raw files showing much higher resolution, while the JPEGs were only slightly above expectations. This was true with JPEGs shot in both the S-High and High resolutions. Examples are shown in the Tests section below.

      Like previous Sigma cameras, the sd Quattro performed best at low ISO settings. By ISO 800, resolution had begun to decline. From then on, noise became more visible, colour reproduction suffered. Resolution fell dramatically at ISO 6400, particularly for JPEGs, as shown in the graph of our Imatest results below.


       Long exposures taken at night were clean and noise-free at ISO 100 and ISO 200 and it was difficult to distinguish between them when evaluating sharpness and colour fidelity. The first evidence of noise appeared at ISO 400 and thereafter noise became more evident.

      By ISO 1600, the intensity of colours had declined and at ISO 3200, JPEG images were almost monochromatic, although colour remained in the raw files. JPEGs taken   at ISO 6400 retained little of the scene’s original colours and were very noise-affected. Raw files taken at ISO 6400 contained more colour but were very soft.

      While you could probably use converted   images from raw files captured at ISO 1600, we don’t believe JPEGs would be of much use at this ISO setting. Higher sensitivities should probably be avoided unless there’s no other option.

      Auto white balance performance was similar to that of the dp3 Quattro  and the review camera delivered shots with  close-to-neutral colours under fluorescent lighting.  With incandescent lighting, both the normal and AWB Lighting Source Priority settings failed to eliminate the orange cast that characterises tungsten lights. The AWB Lighting Source Priority option produced a slightly warmer result than the normal auto setting.

      Both pre-sets tended to over-correct, with the fluorescent preset adding a faint pink cast and the tungsten preset a noticeable blue. Manual measurements came close to neutral with both types of lighting and the camera provides enough scope for making fine adjustments to white balance on-the-spot. In mixed lighting and potentially tricky conditions, shooting in raw can provide the flexibility you need to make more precise adjustments.  

      We were disappointed by the review camera’s autofocusing system, which was almost always slower than we’re accustomed to. Actual focusing speed was heavily reliant on the focusing mode selected, the lighting conditions and the nature of the subject.

      The only time the camera focused quickly was in the 9-point mode when the central point was selected, the subject was well-lit and it contained sharply defined contrasts. But even face detection AF, which is supposed to be quick, could take a second to find faces in such conditions.  In dim lighting and with low contrast subjects, hunting was almost inevitable.

      Our timing tests were conducted with a 32GB SanDisk Extreme Pro SDHC UHS-1card, which boasts a transfer speed of 45MB/second. The review camera took roughly two seconds to power up ready for shooting. We measured an average capture lag of 1.3 seconds which was reduced to 0.1 seconds with pre-focusing.

      It took 5.9 seconds on average to process one high-resolution JPEG file (regardless of its resolution); 8.3 seconds for each X3F.RAW file and 8.6 seconds for each RAW+JPEG pair. Shot-to-shot times averaged 2.7 seconds for both JPEGs and raw files.

      In the continuous shooting mode the review camera recorded 12 Large/Fine JPEGs in 2.7 seconds, which is a bit faster than the specified 3.7 burst rate. It took well over 30 seconds to process this burst.

      The buffer limit remained at 12 frames   for both files and RAW+JPEG pairs and capture rates were only marginally slower. However, processing times were extended to well over a minute for raw files and almost two minutes for   RAW+JPEG pairs.

      The review camera became quite warm to the touch while we were shooting continuous bursts. According to the user manual, this is not a malfunction. A warning icon will be displayed when the camera becomes too hot and the camera will turn off automatically. The manual recommends leaving the camera to cool down for at least 10 minutes.

       Once again, Sigma has produces an interesting camera for fans of Foveon sensors (as we are), this time addressing the criticisms we raised when reviewing the two fixed-lens dp Quattro cameras. The dp3 Quattro won’t suit everyday snapshooters and may not be ideal for some photo enthusiasts.

      It is difficult to rate this camera because it can’t be compared with cameras that have standard Bayer-filtered sensors. The Foveon sensor makes it as ponderous to use as its dp Quattro siblings and, although the shutter is quite responsive, we found autofocusing was frequently slow.  

      However, the image quality we obtained from the review camera was superb. JPEG shots had an abundance of detail and the subtle nuances in skin tones were beautifully captured, particularly when taken with the S-HI setting. Shots taken with the SFD setting were even better and the wealth of image data in raw files provided a great basis for subsequent tweaking to produce TIFF files with abundant detail and colour depth.

      The raw conversion software, though capable, is sluggish to respond, poorly documented and takes a while to get your head around. But that Foveon sensor is hard to beat if you’re after rich colour rendition plus detail that rivals the best DSLRs we’ve reviewed.  



       Image sensor: 23.4 x 15.5mm  Foveon X3 direct image CMOS sensor with 33.2 million photosites (29.5 megapixels effective)
       Image processor:  Dual TRUE (Three-layer Responsive Ultimate Engine) III chips
       A/D processing: 14-bit
       Lens mount: Sigma SA bayonet mount
       Focal length crop factor: 1.5x
       Image formats: JPEG (Ver.2.3; DCF 2.0, DPOF), RAW (14-bit lossless compression), RAW + JPEG
       Image Sizes: RAW – HIGH T: 5424 x 3616, M: 2712 x 1808, B: 2712 x 1808; LOW T: 2704 x 1808, M: 2704 x 1808, B: 2704 x 1808; JPEG ““ 3:2 aspect: 7680 x 5120, 5168 x 3448, 3984 x 2656; 21:9, 16:9, 4:3, 7:6 and 1:1 aspect ratios also available
       Image Stabilisation: Lens based
       Dust removal: Removable dust protector inside lens mount
       Shutter (speed range): Electronically Controlled Focal Plane Shutter (1/4000 – 30 sec. plus Bulb: Max. 2 min.); X-sync at 1/180 sec.
       Exposure Compensation: +/- 5EV in 1/3EV steps
       Exposure bracketing: 3 or 5 shots in 1/3EV steps; range +/-3EV
       Other bracketing options:
       Self-timer: 2 or 10 seconds delay
       Focus system: Phase difference detection + Contrast detection system
       Focus modes: 9 points select mode,  Free move mode (frame size adjustable to Spot, Regular and Large), Face Detection AF;   Single AF,  Continuous AF (with AF motion prediction function),  Manual
       Exposure metering:   Evaluative, Centre-weighted and Spot metering patterns; range EV 0~EV 17 (50mm F1.4 ISO100)
       Shooting modes: Program AE (with Program Shift,   Shutter Priority AE,  Aperture Priority AE,  Manual
       Colour modes: Standard,  Vivid,  Neutral,  Portrait,  Landscape,  Cinema,  Sunset Red,  Forest Green,  FOV Classic Blue, FOV Classic Yellow,  Monochrome
       Colour space options: sRGB and Adobe RGB
       ISO range: ISO 100-6400  
       White balance: Auto, Auto (Lighting Source Priority), Daylight, Shade, Overcast, Incandescent, Fluorescent, Colour Temperature, Flash, Custom 1, Custom 2, Custom 3
       Flash: External flash only
       Flash modes: rear curtain sync., slow synchro, FP flash (continuous firing), red-eye reduction; AF-Assist light integrated in flash
       Flash exposure adjustment:
       Sequence shooting: Max. 3.7 shots/sec.   JPEG and RAW (4.3 fps with low resolution)
       Buffer capacity: Max. 12 frames (24 frames with low resolution)
       Storage Media: SD, SDHC, SDXC cards (UHS-I compatible)
       Viewfinder: EVF with approx. 2,360,000 dots, 100% frame coverage, 1.10x magnification, 21 mm eyepoint, 14 to +2 dioptre adjustment
       LCD monitor: 3-inch   TFT colour LCD with approx. 1,620,000 dots, 100% frame coverage,, electronic level display
       Playback functions: Single frame display,  9 frames multi display,  Zoom, Slide Show; highlight alert and histogram displays available
       Interface terminals: USB (USB3.0, micro B),  HDMI (Type C mini-pin HDMI connector),  Remote
       Power supply: BP-61 Rechargeable Li-ion Battery Pack; CIPA rated for approx. 235 shots/charge
       Dimensions (wxhxd): Approx. 147 x 95.1 x 90.8 mm
       Weight: Approx. 625 grams (body only); grams with battery and card

       Distributor: C.R. Kennedy & Company; (03) 9823 1555;  



       Based upon S-HI (7680 x 5120 pixels)  JPEG files.


      Based upon high-resolution (5424 x 3616 pixels)  JPEG files.


       Based upon X3F.RAW files converted into TIFF format with Sigma Photo Pro 6.






       Auto white balance with incandescent lighting.


       Auto white balance with fluorescent lighting.




      ISO 100, 30-second exposure at f/4.5. (The top image is the original JPEG, while the bottom image has been converted from an X3F.RAW file.)



      ISO 200, 30-second exposure at f/5.6.


      ISO 400, 15-second exposure at f/5.6.


      ISO 800, 8-second exposure at f/5.6.


      ISO 1600, 6-second exposure at f/7.1.  



      ISO 3200,  5-second exposure at f/9.


      ISO 6400, 2.5-second exposure at f/9. (The top image is the original JPEG, while the bottom image has been converted from an X3F.RAW file.)


      Dynamic range comparison: JPEG image on the left, raw image on the right; ISO 100, 1/250 second at f/13.


      ISO 100, 1/1250 second at f/5.6. Original at 5434 x 3616 pixels.  



      Close-up; ISO 200, 1/2000 second at f/1.4.


      Portrait; ISO 200, 1/500 second at f/1.8.


      Still life; ISO 800, 1/50 second at f/2.8.


      Hand-held stability test; ISO 800 1/6 second at f/2.8.

      Additional image samples can be found with our review of the Sigma 30mm f/1.4 DC HSM Art lens.  



      RRP: AU$1099; US$799; As reviewed with Sigma’s 30mm F1.4 DC HSM Art lens – AU$1399, US$999

      • Build: 9.0
      • Ease of use: 8.5
      • Autofocusing: 7.5
      • Still image quality JPEG: 9.0
      • Still image quality RAW: 9.0