Sigma 65mm F2 DG DN Contemporary (699) was one of the first entries into the I Series. This is a series of premium prime lenses that are slim and lightweight for full-frame mirrorless cameras. The lens' focal length, which is slightly longer than standard angles optics, gives it a narrower view, though still falls short of being considered portrait-oriented. Photographers who prefer a slightly narrower view of the world will be rewarded, though—the lens is exquisitely built, with optics to match. This lens is an Editors Choice Winner due to its exceptional performance and unique angle.
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I Series
Sigma has placed the 65mm F2 DG DN Contemporary within its I Series. This is a collection of prime lenses that are built for mirrorless. It's constructed with a slightly vintage mindset—the aluminum barrel and knurled control rings set it apart from the crowd. Polycarbonate lenses are now more common. They're still durable and professional, but have a distinct feel.
It's on sale in two mounts: L-mount, for Leica, Panasonic, and Sigma models, and for Sony's E-mount system. We received the Sony edition for review. Like others in the series, Sigma has worked to keep things small. The 65mm weighs in at 14.3 ounces, and at 2.8 by 3.0 inches (HD), it won't take up a lot of room in your camera bag.
Reversible metal covers are included as well as standard rear and front lens caps. Sigma includes a metal cap. It's a smart accessory—it pops on and off easily, and can slip into your pocket, as long as you don't mind getting some lint on its black felt lining. You'll want to stick to the standard cap if you use the hood, though, or when using a filter—the lens supports the 62mm filter size.
It's compatible with full-frame cameras, where it captures an angle of view that's a bit tighter than a typical standard angle lens. With an APS-C sensor, or for Super35 video capture, the angle is what we think of as one for portraits, about the same as a 100mm lens on a full-frame system.
The I Series is young—the Sigma 45mm F2.8, now a couple of years old, set the motif, but wasn't marketed under the banner at launch. The 35mm F2 is also available, as well as the 25mm F3.5. The four are unmistakably related—they share a similar industrial design, one that emphasizes quality, without utilizing massive optics.
They drop some features found on pricier lenses: weather sealing isn't extensive, you just get a seal around the lens mount, and there's no anti-smudge fluorine covering the optics. I'd feel comfortable using the lens in light precipitation, but wouldn't take it out in a downpour.
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Handling and Focus
Two control rings are included with the 65mm F2: one for aperture, and one to focus. You can adjust the aperture ring closer to your mount. It is adjustable in increments of three stops. The A position moves the aperture control to your camera, however, there is no way to adjust the ring to clickless operation. This is something videographers are looking for.
Autofocus is quick and quiet. Still photographers won't mind seeing some breathing during focus—the angle of view changes visibly along with focus. It's another drawback for video—you can use the lens for shots with a fixed point of focus with no problem, but racking from foreground to background nets the distracting breathing effect.
Close-up focus is the most important factor when using the lens. To get focus, the subject must be placed at least 21.7inches (0.55m), from your camera. You will find yourself pulling back in order to take some photos. The macro magnification is the ratio between the subject's actual size and what the camera projects onto an image sensor at that distance. It is approximately 1:6.8.
It's in line with what we see from some others, including the Sony FE 55mm F1.8 ZA (1:7.1) and the Panasonic Lumix S Pro 50mm F1.4 (1:6.7). If you're looking for a standard lens that gets you closer to your subject, think about an F2.8 option like the Sigma 45mm F2.8 (1:4) or the Sony FE 50mm F2.8 Macro (1:2).
The 65mm Contemporary does not have optical stabilization, as is the case with many small primes. The full-frame mirrorless camera that you will pair it with includes 5-axis IBIS system. The Sony a7R IV allows me to achieve sharp results with the lens as well as half-second handheld exposures.
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The Lab
I used the 65mm F2 to test the software and the Sony 60MP Sony A7R IV. This lens has a remarkable resolution of approximately 5,000 lines. The lens has a slightly reduced clarity towards the edges of the frame. However, the periphery provides excellent contrast even with wide-open shots.
Resolution holds steady as you narrow the aperture, with the absolute sharpest images across the frame coming in around f/5.6. Diffraction starts to soften details around f/8, but is only a real world concern when working at f/16 through f/22.
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Automatic distortion and vignette adjustment will be possible when you use your JPG mode. Raw capture will require you to correct the distortion and vignette yourself or have your Raw processing software do it. The lens has pincushion distortion of 2.7% and dimmed corners at F/2 and F/2.8.
Overall, there's little negative to say about optical performance. The 65mm F2 benefits from its short telephoto focal length—typically lenses of this type deliver excellent results in the lab. The 65mm F2 goes a bit further, delivering results that maximize the potential of the highest-resolution image sensors on the market today.
Unusual Standard Lens
We think that Sigma is paving its own road with the I Series. In recent years we've seen a number of big, heavy prime lenses with F1.4—and sometimes brighter—optics. Sigma's 65mm F2 DG DN Contemporary lens and its other I Series lenses are designed for customers who do not require a wider aperture but want to keep everything else.
The design philosophy is strong, and consistent, through the line. The 65mm F2 isn't as much of a pancake lens as its wider siblings, but still qualifies as compact, and it comes in at under a pound so it won't make your camera too front-heavy. I paired it with an average sized full-frame camera, but have no qualms about recommending it for use with smaller bodies.
This is a unique option because it allows you to choose your focal length. Although the angle of vision is not ideal for everyone, if you enjoy working towards the longer end of a zoom of 24-70mm, it will be a great choice. This focal length allows for subject isolation and gives you the ability to capture more background when there is less distance between your subject and camera.
It's where personal preference come into play. I don't think I'd reach for the 65mm as my main lens—I'm much more comfortable with something a little bit wider, like the Sigma 45mm F2.8—but photography is an artistic endeavor as much as a technical one. If your eye leans to tighter compositions, be happy to know that the 65mm F2 DG DN Contemporary delivers outstanding quality all around. With so many lenses to choose from, the 65mm stands apart from others, earning Editors Choice marks in the process.