Sigma’s 35mm f/1.2 DG II Art trims real weight and bulk while promising cleaner optics and quicker autofocus than the first version. If you rely on a fast 35mm for portraits, events, or video, this kind of update changes how long it stays on the camera, how backgrounds melt at f/1.2, and how reliably focus lands in low light.
Coming to you from Dustin Abbott, this clear-eyed video puts the new Sigma 35mm f/1.2 DG II Art lens in context, covering what changed from the first version and why the updates matter. Size and weight drop in a way you actually notice in a bag, while the feature set gets practical touches like a clicked/declicked aperture ring and an aperture lock. Autofocus benefits from Sigma’s newer linear drive approach, which means quicker jumps and less hunting at close range. You also see how the lens handles breathing in video, where the design aims to reduce in-camera compensation needs.
Abbott puts it against the usual suspects to make the trade-offs clear. The Sony FE 35mm f/1.4 GM still wins on compactness and overall AF consistency for action, but it doesn’t open to f/1.2. The Viltrox AF 35mm f/1.2 LAB keeps the value crown and can show a touch more microcontrast in the center in some scenarios, though its breathing is more noticeable. Sigma’s rendering leans smoother, especially in out-of-focus transitions, and the corners come on strong by f/2.8. You also see close-up behavior at the 11-inch minimum focus distance, where floating elements help hold detail without the plane of focus sagging.
Key Specs
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Focal length: 35mm
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Maximum aperture: f/1.2
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Minimum aperture: f/16
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Mount: Sony E, Leica L
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Format coverage: Full frame
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Minimum focus distance: 11 in / 28 cm
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Maximum magnification: 0.19x (1:5.3)
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Optical design: 17 elements in 13 groups
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Aperture blades: 11, rounded
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Focus: Autofocus with full-time manual override
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Image stabilization: No
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Filter size: 72 mm (front)
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Dimensions: 3.2 × 4.4 in / 81 × 111.4 mm
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Weight: 26.6 oz / 755 g
Build and handling get the kind of polish you want in a lens at this price. The aperture ring feels deliberate, the focus ring runs smoothly with useful damping, and you get a focus hold button plus AF/MF switch where your thumb expects them. Weather-sealing and a better-than-average hood finish the package without drama. You also see how the lens keeps specular highlights circular as you stop down, avoiding odd polygon shapes until deeper apertures.
Image quality lands in a sweet spot. At f/1.2 you get crisp subject detail with a gentle falloff that reads natural rather than edgy. Vignette is present wide open and cleans up as you stop down, which is normal for a fast wide angle. Distortion is minimal and cleans with a nudge. Longitudinal fringing is kept in check, and lateral fringing is basically a non-issue. By f/2.8, the frame is uniformly sharp for landscapes, architecture, and stitching. Flare control is mostly tasteful at wider apertures, though small apertures can introduce more ghosting, so compose with intent when shooting backlit scenes.
Video performance is part of the story. Focus pulls look confident with smooth ramps and little settling at the end of a move. The reduced breathing helps keep framing stable through focus transitions, so you’re not fighting sudden crops. If you’re used to relying on body-based compensation, this lens’ optical behavior means fewer surprises during pans and reveals.
If you want to see how it stacks up to the NIKKOR Z 35mm f/1.2 S as a reference point for rendering and price positioning, Abbott touches on that comparison to frame value without getting lost in brand wars. The takeaway is clear: you’re paying for a faster 35mm that trims bulk, tightens behavior in both stills and video, and doesn’t ask you to baby the lens in the field. Check out the video above for the full rundown from Abbott.
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