- Sigma reveals four Monte L and E-mail lenses to come
- 35 mm F1.2 II, 135 mm F1.4 and 20-200 mm F3.5-6.3 to come on September 25, 2025
- 28-45 mm T2 Autofocus Cinema Lens also announced
Sigma has just announced an impressive quartet of objectives that should have photographers and videographers looking for their wallets. The Japanese objectives manufacturer is launching three new options for photography still – including what it says is the first Autofocus 135 mm f / 1.4 lens in the world – alongside its inaugural automatic cinema objective.
The four will be available in L-Mount and Sony E-Mount varieties when they launch on September 25, 2025 (Bar The Cinema Lens, which should follow in November).
The star of the new range could be the SIGMA art 135 mm F1.4 DG, which, according to the company, is the first automatic 135 mm automatic lens in the world with a maximum opening of F / 1.4. If you are wondering why it is a big problem, it is because this focal length has traditionally maximized at F / 1.8 for autofocus objectives – that additional two -thirds of a stop make a significant difference for low light performance and bokeh quality.
Sigma positions this as the ultimate portrait objective, and the specifications seem to support this assertion. The effective opening diameter produced from Bokeh larger than even the famous F1.4 105 mm from Sigma “Bokeh Master” and comparable to the 200mm F2 sporting objective of the company. It is a substantive fusion potential.
At 50.4 OZ / 1,430 g and 135.5 mm in length, it is certainly not a light option, but Sigma includes a tripod in magnesium alloy compatible with arca-swiss for prolonged shooting sessions.
Then there is SIGMA art 35 mm F1.2 DG II, arriving six years after its predecessor – the first 35 mm mirror lens in the world. This time, Sigma has managed to considerably reduce the package while improving optical performance.
This version is around 30% lighter and 20% shorter than its predecessor, but, despite the reduction in size, Sigma claims that optical performance has improved with better correction of chromatic aberration and the escape of Sagittal coma.
Like the original, this objective is to provide this F / 1.2 coveted look – a superb sharpness where you want and a creamy bokeh where you do not. The company has paid particular attention to the minimization of focused breathing, which also makes it suitable for video work as a photograph of Stills.
To have a goal, to travel
Perhaps the most intriguing trio is the contemporary of 20-200 mm F3.5-6.3 DG of Sigma-what the company claims is the first objective of 10x zoom in the world from a focal distance of 20 mm ultra-large for cameras without complete mirror. A bite, but impressive.
This is clearly Sigma’s response to the crowd “One Lens for Everhything”. The end of 20 mm wide opens the creative possibilities that conventional high power zooms can simply not correspond, while the 200 mm telephoto lens reaches everything, from portraits to sports. The maximum expansion ratio of 1: 2 with focals between 28 and 85 mm adds macro capacities to the mixture.
What is perhaps the most impressive is how Sigma managed to pack all this versatility with a goal of only 19.4 OZ / 550g and measuring 115.5 mm in length. For travel photographers who want to shed light without sacrificing creative options, it could be the ideal companion.
To complete the announcements, the first Incursion of Sigma in the Autofocus cinema objectives with the 28-45 mm T2 FF, launched on November 6. Built around the optical system of the lens of acclaimed art of 28-45 mm F1.8 of Sigma, the cinema version adds professional video features such as pitching gears of 0.8 m standard, a limited rotation ringing ring and an opening ring without click. The HLA Autofocus system promises almost silent operation, which is crucial for video work.
At 42.3 OZ / 1.2 kg, it is a piece of substantial kit, but this is normal for the course in the world of cinema. The objective of the objective included of the objective and professional functionalities suggest that SIGMA is serious to competition with the manufacturers of established cinema lenses.
With these four objectives, Sigma clearly makes a declaration on its commitment to the market without mirror. The 135 mm F1.4 innovates in portrait photography, the 35 mm F1.2 II refines an already excellent design, and the 20-200 mm offers unprecedented versatility in a compact package. The cinematographic objective, on the other hand, points out Sigma’s intention to expand beyond photography in the world.
Regarding prices, the 135 mm F1.4 costs $ 1,899 / £ 1,649, 35 mm F1.2 II costs $ 1,499 / £ 1,249, 20-200 mm F3.5-6.3 DG costs $ 999 / £ 799 and the T2 FF cinema target of 28-45 mm costs $ 3,399 / 2,599 £ (Australian TBC TBC). It is not clear if Sigma will make one of these objectives for other lens frames in addition to the L and Sony electronic frame.
These lenses represent good value compared to the first party alternatives. For photographers who seek to extend their glass collection with high -quality third -party options, September 25 cannot arrive early enough.
