Sigma’s refreshed 35mm—a quick look The Sigma 35mm F1.4 DG II | Art keeps the classic 35mm promise: enough wide-angle context to show environment, but close enough to feel intimate with the subject. This second-generation Art lens reworks the optics and the mechanics, shrinking the body, trimming weight and swapping in a modern autofocus drive. The goal is straightforward: high image quality with friendlier ergonomics for long days on the move.
Why this matters for motorsport and automotive shooters Track work needs speed, visual context and the ability to follow vehicles without missing the moment. A 35mm frame captures machines in their environment—garages, paddocks and the track—without isolating them. The DG II aims to deliver that framing with improved corner performance, quieter, faster AF and a lighter kit to carry through full-day shoots. Those subtle gains—less fatigue, steadier tracking, cleaner highlights—add up when you’re shooting under hot lights or in the chaos of a pit lane.
The headline technical changes – Optical formula: 15 elements in 12 groups, including four high-precision aspherical elements and two SLD elements to tame axial chromatic aberration and colour fringing. – Bokeh and coatings: an 11-blade rounded diaphragm for smoother highlights, plus a newly developed Advanced Amorphous Coating (AAC) and other anti-reflective surface treatments to reduce flare and ghosting. – Mechanical revisions: a more compact internal focusing group and refined helical geometry to shorten focus travel, reduce breathing and improve balance. – Autofocus and handling: Sigma’s Dual HLA (High-response Linear Actuator) system for fast, near-silent AF; assignable AFL buttons, a selectable click/lock aperture ring and a locking petal hood. – Size and weight: Sigma reports the DG II is roughly 14% shorter and about 20% lighter than the immediate predecessor. – Weather resistance: dust- and splash-resistant body with water- and oil-repellent coating on the front element (not submersible). – Mounts and price: available in L‑Mount and Sony E; U.S. retail price announced at $1,059 (April 16, ).
What changed in the optics (and why it matters) Sigma replaced several legacy glass elements with newer low-dispersion and aspherical types and added coatings that favor neutral highlight roll-off and consistent colour. Practically, that means crisper edge-to-edge sharpness without the artificially sharpened look some earlier designs produced, and smoother transitions from in-focus to out-of-focus areas. The combination of element grouping and aperture shaping was tuned to give bokeh fewer distracting rings—helpful not only for portraits and street work, but also for cutaways and detail shots at events.
Coatings and flare control Racing environments throw a lot of challenging light at a lens: reflective bodywork, bright track lighting and mixed shade. The AAC and advanced anti-reflective layers are intended to suppress internal reflections and ghosting, preserving micro-contrast and midtone detail when you’re shooting toward strong highlights.
Mechanics, focus behaviour and video use The more compact internal focusing system shortens focus travel and reduces breathing, so framing remains steadier during focus pulls—important for videographers and hybrid shooters. The Dual HLA drive moves heavier groups quickly and quietly, benefiting both high-speed stills and run-and-gun video capture. Controls are built for predictable use: a linear-feel focus ring for manual work, damped control rings, two assignable AF-lock buttons and an aperture ring that can be clicked or locked flat for smooth video adjustments.
Build, materials and field durability Construction mixes aluminum with Thermally Stable Composite (TSC) and high-precision polymers to keep stiffness high while cutting mass. The lens is dust- and splash-resistant and has a water- and oil-repellent front surface to ease cleaning on the road. It’s engineered to withstand the rough rhythms of pro use, though it’s not rated for full submersion.
Practical notes for photographers – Carry and comfort: the reduced size and weight make the DG II a better companion for photographers who spend long hours handheld or travel light between venues. – Workflow gains: improved corner performance and fewer optical artifacts reduce correction work in post, speeding turnaround for editors and clients. – Hybrid use: the quieter AF and reduced breathing make this a sensible choice for shooters who juggle stills and video. – Mount flexibility: L-Mount and Sony E options cover several popular mirrorless ecosystems.
What’s still to come Independent lab tests and extended field reviews will clarify how the DG II performs against rivals and predecessors in measurable ways: MTF charts, longitudinal aberration numbers, measured flare resistance and bokeh character under different conditions. Sigma has announced price and some specs; final shipping dates and region-by-region availability are rolling out through the brand’s channels. For motorsport and automotive photographers who need contextual framing, fast acquisition and a lens that won’t tire you out by mid-afternoon, this looks like a practical upgrade—pending the full suite of lab results and sample images that will confirm how it performs on track.