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Sigma Objectif Fisheye 15 mm F2,8 EX DG Diagonal - Monture Canon
|Ancien prix:||EUR 690,90|
|Prix :||EUR 552,72 LIVRAISON GRATUITE Détails|
|Économisez :||EUR 138,18 (20%)|
|Tous les prix incluent la TVA.|
- Conçu pour votre reflex numérique plein format
- Ultra téléobjectif zoom compatible avec les boitiers APS-C
- Angle de champ de 180°
- Construction solide
- Ouverture maximale constante de F2,8
- Plage focale : 15mm
- Monture Canon
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Descriptions du produit
Optimisé pour les reflex numérique à capteur plein format sur lesquels il délivre une image rectangulaire de 180°, le fish-eye SIGMA 15mm F2.8 EX fonctionne également sur les reflex numérique Pentax, Sony, SIGMA, Canon et Nikon à capteur APS-C.
Son angle de champ à 180° sur la diagonale du capteur le destine à la photographie de sport extrême, au paysage dont il simplifiera grandement la prise de vue panoramique, l’architecture ou le portrait décalé aux distorsions exagérées.
La gamme EX dont est issu l’objectif SIGMA 15mm F2.8 EX DIAGONAL FISHEYE est la gamme d'objectifs professionnels SIGMA à destination des photographes professionnels et des amateurs avertis. L’ensemble des objectifs de la gamme EX possèdent des performances optiques exceptionnelles avec des images piquées et contrastées dès la pleine ouverture et une qualité de fabrication extraordinaire.
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Fisheye lenses have a mixed reputation, which is a shame as they are some of the most versitile lenses around. Some of the bad reputation comes from the fact that some people think all fisheyes are "round". However, the Sigma 15mm is diagonal fisheye, and fills the picture across the entire sensor.
But why a fisheye at all? Three main reasons;
1) its wider than a standard lens (so 15mm fisheye is much wider than a 14mm standard lens)
2) by not correcting the light (as much as a traditional lens), the fisheye should have less flare and
2) better - even spectacular - colors.
And when it comes to flare resistance the Sigma 15mm shines. Colors are also great, but fisheye lenses can be very tricky for the camera's light meter. So with my 5Dii I often shoot @ f/-2/3 to f/-1½ to compensate for overexposure at bright daylight.
Some people complain that the Sigma may hunt at low light, but I do not find it more difficult to use than most other lenses - actually I find it quite good. It has worked fine from early morning, over heavy rain to dark night.
Versatile? You bet! The important aspect of shooting a fisheye is to use the focal plane very actively in your shots. There is a dramatic shift in the look and feel of a shot depending on the tilt to the horizon and where in the picture plane your objects are.
Also, as long as you shoot "rounded" objects such as people, a fisheye often works better than a traditional wide lens like the Canon 14L. On the other hand its not very good at buildings unless you use software to correct.
Finally, the ability to use software to straighten out the curved lines makes fisheye lenses more versitile than ever.
For me the Sigma has been a hit. My impression from reading reviews etc. on the net is that there is no significant difference between the Sigma and the Canon, so get whichever is the cheapest where you live (that's what I did).
[Please disregard the previous review about vignetting. This lens has almost none even on a full frame. The user just forgot to take of the entire lens cap before shooting...]
The key to success with this lens is to set the shot correctly. I have found it takes more planning, a steadier hand (or Tripod/Monopod), than even my 100-400MM F/4-5.6L. With a telephoto lens, your area of focus is less a challenge than the 180 Degree worth of study when dealing with this lens.
Don't get me wrong, this lens is FUN!! I've never enjoyed landscapes, portraits, artistic shots more than I have when I am using my 15MM Fish. For the Casual user, high end amateur, or for the seasoned professional, this lens is an inexpensive TOOL each of us should have to round out our lens bag. BUY IT!!
I'm lucky enough to have a full-frame DSLR, so my wide-angle lenses stay wide. My wide zoom is a 17-35mm and the wide end gives just over 100 degrees view. Now, you might think that 17mm is wide enough for anyone but somehow I've always hankered for something even wider that would give the possibility of unusual and even spectacular compositions.
The only options for a Canon mount were the Canon 14mm or the Sigma 12-24mm, or a fisheye. The Canon 14mm, although a great piece of engineering and having rectilinear correction, is hugely expensive at about £2000. The Sigma is great value and high quality but large, with a fairly slow max aperture of f/4.5-f/5.6, and still costs quite a bit at nearly £700.
I'd never really considered a fisheye seriously before (see the disadvantages further down this article) but the view it gives is unique and, being a fixed focal length, is relatively small and easier to engineer with a larger max aperture. It's also cheaper than the lenses above.
That really narrowed my options to the Canon and Sigma 15mm. The Canon is high quality optically but quite an old design, with no USM or lens coating designed for DSLRs. Being a marque lens it also carries a price premium. This led me to the Sigma, which has quite fast autofocus and a digital-friendly lens coating (and an impressive 3-year warranty when bought new).
The lens is about 69mm tall from where it joins the camera body to the top point of the built-in petal shaped lens shade and weighs about 370g. The size and weight feel very comfortable and balanced on a DSLR body.
The lens cover has to be a push-on design because of the inbuilt shade - this is nice and tight and there is a snap-on cap at the front. This is useless for full-frame, as leaving the push-on part on will cause vignetting but it may be OK on an APS-sized or smaller sensor. The petal-shaped shade is metal and is ribbed on the inside, presumably to balance strength vs weight, while also helping to disperse stray light.
Removing the cap reveals the relatively bulbous (but not overly large) front element. I've always kept my other lenses with UV filters over the front elements but this is impossible with this lens because of the curvature, shape of the hood - and the fact that no screw thread is provided! To be honest, it makes me nervous and you should keep the lens cap on whenever the lens isn't actually in use. Gelatin filters can be placed behind the rear element in a special holder. The lens kit includes a metal template for cutting the gelatin to shape.
When the focus switch is on manual, the focus ring can be moved and has a very smooth and damped action. Turning it from infinity to the minimum focus distance of an amazing 15cm requires just over a quarter-turn. The lens doesn't have internal focusing and so the lens extends by approx 5mm at minimum focus. This isn't noticeable in use and in no way affects the balance of the lens on your camera.
Switching to AF requires a fairly firm push of the button and its position means it's very unlikely you'll accidentally move it. AF is fast and quiet, but the focus ring moves when focussing and so you must keep your fingers clear. This doesn't happen with Canon lenses and I found it irritating at first, though I got used to it after a while.
Performance in the field
The lens feels perfectly balanced on my Canon EOS 5D Mk II body and is probably the lightest and smallest lens I own, so it's almost a relief for my neck muscles!
The autofocus works quickly and very accurately. This is quite a tribute when you consider that the 5D has far from the best AF sophistication and the difficulty in finding sharpness/contrast in a lens with massive depth of field and such a wide viewing angle. The speed and quietness aren't quite up to Canon USM standards but it is nontheless very quick and the noise is unlikely to be noticed even indoors.
Overexposure seems to be a fairly common occurrence in my shots. Underexposing by 2/3 of a stop seems to cure this.
One issue I've had using it on the 5D is that the 5D only gives a 98% view and so I've found on subsequent viewings that shots have extraneous details I didn't have when framing. This does occasionally happen when using other lenses but is more common with the 15mm. This is no reflection on the lens, just a warning to bear this in mind if your viewfinder gives less than a 100% view.
This isn't intended to be a truly technical review but in common with other reviews, I can say this lens is sharp at the centre wide open at f/2.8, though the edges are slightly soft. By stopping down to anywhere between f/5.6 to f/11, corner sharpness is good to very good and centre sharpness is excellent. Colours are rendered well and contrast is high, though possibly not quite to Canon L standards.
How to use the Sigma 15mm fisheye
This is one area that most reviews overlook, so if you haven't used a fisheye lens before, here is what I've learnt...
There are 2 types of fisheye, firstly, those that give a circular image within a black frame, which give you the whole 180 degree view in every direction. Secondly, are what I'll call 'full-frame' fisheyes and these crop the full image to one that completely fills the frame. This Sigma lens falls into the latter category.
The lens does not have rectilinear correction. This means that straight horizontal or vertical lines in the centre of the frame will be rendered straight. As you move straight lines further away from the centre, they will suffer more and more from the barrel distortion that gives this lens its most obvious trademark (and makes it far cheaper than corrected lenses). It will give most photos an unmistakable look and in my opinion it's best not to overuse it.
The are three important areas you need to consider when using a fisheye lens:
Focussing and depth of field
If shooting outside, it's likely you will be including quite large areas of sky and the result may be underexposure, dependent upon how the metering of your camera is linked to focus points. In fact, it may be impossible to get an accurate exposure of your whole shot, needing some post-processing correction. Using filters is difficult as there is no filter thread and even holding, say, an ND grad over the lens shade may cause vignetting.
In practice, I've found that on my EOS 5D Mk II body, this lens has overexposed by about 2/3 stop and so I have needed to dial in that amount of minus exposure compensation to get the best exposure. You may find this different on your own camera body. For film users, this is potentially a disaster on slide film, causing bleaching of highlights but for print film (which has more exposure latitude), it will add extra density to your photos and correcting exposure will just be a matter of personal taste.
Focussing and depth of field
It may seem strange to say this, but manual focussing isn't that easy because the enormous depth of field makes precision more diffcult. It is only at close distances (and remember, this lens focuses to 15cm, giving a macro ratio of 1:3.4) and the wider apertures that differential focus is possible.
On the plus side, you're unlikely to have any out of focus shots. In addition, for general photography in average light, you can switch to manual focussing and use the hyperfocal length at, say, f/8. The benefits of this are that everything from about 50cm to infinity is in focus and you are using the lens at its optimal aperture to maximise resolution.
With such enormous coverage, the general advice about wideangles applies even more which is to avoid large areas of empty foreground, unless this is deliberate. It can lead to shots that your viewers will find tedious or their eyes will be lacking a lead-in line.
This lens is poor for accurate architectural photography because of the extreme distortion. The positive side of this is that the lens is great where curves, ovals or circles are included, as they are rendered in an attractive way.
The incredible depth of field results in front to back sharpness when focussing beyond about 1m.
Extreme care is needed to exclude unwanted 'things' from your composition: fingers, knees, feet, tripod legs etc. etc.!!
Although flare/ghosting is very well controlled, on sunny days it can be difficult to keep the sun out of compositions but, of course, you can use it as a compositional tool.
Compact and fairly light.
Best value for money, in my opinion.
Great fun - I love it!
Fast max aperture when you need it.
Very specific look so take care in composition and not to overuse the effect.
Requires about -2/3 exposure compensation (on a 5D Mk II body, at least).
May need some post-processing because of differing light levels in the shot.
Using filters is nigh on impossible.
Focus ring moves in AF mode.
Virtually faultless - 5 stars from me!
First off, image quality is quite sharp and has great color rendition. Autofocus is very fast, silent, and accurate. I also like that switching to manual disengages the focal motor for a smoother, easier focus pull. I haven't run into that in other lenses and I like it.
The build quality feels great, the lens cap stays on firmly (people complain that the Canon has issues with that) and it's an all around good looking lens. When I first removed the lens cap, that front element was a sexy piece of glass to look at. The padded case included is nice and sturdy and a lot more practical than the Canon cinch pouches included with some of their lenses (ie. I'm actually going to use it).
For those leaving reviews about this not being a true fisheye, you're obviously using the lens on crop sensor cameras, you idiots. On a 1.6 crop sensor, you're going to end up with a wide angle 24mm lens. Pay attention and do your research before buying $600 pieces of equipment. I don't understand how anybody could have missed this point.
That said, on my 5D III, this lens is most definitely a fisheye. Standing in one corner of a typical sized livingroom, you can pretty much capture the entire room in one frame. I'm definitely looking forward to using this for landscapes and live music events this summer.
I have a feeling this will be one of my top go-to lenses for a good while. I'm very pleased with this purchase.