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During the past few months, we either had straight rumors, or various facts/statements leading us to think something is coming. The result is the list below.

Probability is given for 2014 or 2015. Enjoy!


16-20mm f/2 DG Art

The range is very short, but may find its way among photographers if it offers “prime perfomance” throughout. Still, 14-20mm f/2 or 16-24mm f/2 would appeal to more users.
Probability: 60%

24-70mm f/2 DG Art

The rumor about such a lens appeared after the release of the 18-35mm f/1.8 DC, which was a proof that Sigma could surprise us all with a large-and-fixed-aperture zoom lens. Actually, Sigma is probably thinking about such a lens for the full-frame format, but a 24-70mm with constant f/2 aperture is a tremendous optical challenge. Getting the lens to perform at a good level at f/2 and at both ends of the range is extremely difficult − it is no easy task even for a 24-70mm f/2.8! So what is the solution? Either a more reasonable range, such as 28-50mm or 24-40mm, or a top-performing 24-70mm f/2.8 OS with a cost advantage over the Canon 24-70mm f/2.8L USM II, which is superb but has no stabilization.
Probability: 40%

24mm f/1.4 DG Art

A necessary lens for the growth of the Art series, and for Sigma to try and establish superiority in the key focal lengths. The land is cleaned.
Probability: 99%

85mm f/1.4 DG Art

Ditto. See the first hint of this lens.
Probability: 99%

135mm f/1.8 DG (OS) Art

Likely, but we are not sure about f/1.8 or f/2, OS or no OS. Sony offers a 135mm f/1.8 DSLR lens, so why not Sigma? The combination of f/1.8 and stabilization would make them stand apart again.
Probability: 70%

120-400mm DG OS f/4.5-5.6 Contemporary

The Global Vision line lacks an affordable telezoom lens. The 120-400mm f/4.5-5.6 DG OS HSM was discontinued a few months ago, and the competitors all have nice offerings. Tamron cleverly entered the segment with their 150-600mm f/5-6.3. See also Thoughts on a Possible Sigma Answer to the Tamron 150-600mm.
Probability: 70%, but the focal length range may be different.

300-600mm f/? DG OS Sports

Instead of competing directly with the trusted supertele primes from Canon and Nikon by making their own, Sigma could have gone the original way with a zoom lens complementing the 120-300 f/2.8 DG OS HSM Sports. It makes total sense and is in accordance with what they have done in the past.
Probability: 80%

50mm f/2.8 DG Art Macro

Which focal length will be chosen for the first Global Vision macro lens? The 50mm f/2.8 Macro has just been discontinued, but the reason may be somewhere else, like not enough demand for instance. It could also be a good time to push the envelope (hint: Zeiss offers two very nice f/2 macro lenses).
Probability: 50%

17-50mm f/2.8 DC OS Art

There is a patent for a similar lens, but with no OS. The 17-70mm f/2.8-4 DC OS HSM Contemporary does not fit the bill for many users due to the variable aperture.
Probability: 70%

Ultra-wide DG lens

Sigma will probably not let the world’s widest full-frame lens go, so they should make a Global Vision version out of the current 12-24mm f/3.5-5.6 sooner or later. I think an Art lens will pop up in this segment too, as there is an audience for wider apertures.
Probability: 80%

Ultra-wide DC lens

The 10-20mm lenses should be updated to counteract Canon’s and Tokina’s options.
Probability: 70%

Mirrorless (DN) lenses

A world of uncertainty.


sd1 Quattro

Logical and expected step-up from the aging SD1 Merrill. Sigma said many times they will continue to make DSLRs, and we know that a new one is in the oven. They are probably putting lots of efforts in getting things right, particularly crucial points like AF and general responsiveness. Now is the camera ready for a Photokina announcement?
Probability: 95%

Full-frame Foveon sensor

Will Sigma ever have the wherewithal to support the production of a full-frame sensor? We can’t tell, but in the best case, we are at least a generation away from it, so not before 2017.
Probability: 0%

Another dp Quattro

Is a fourth option overkill? Sigma’s CEO Kazuto Yamaki said it was something they considered due to the demand for more focal lengths. Tele, zoom or ultra wide? I would wager on the latter. Not easy to name though.
Probability: 60%

Mirrorless interchangeable-lens camera with Micro Four Thirds sensor

Such a camera was probably considered. I would now consider it abandoned.
Probability: 0%

  • Jedy

    I have the old 24mm and look forward to seeing what a new 24mm Art could offer. I assume it’ll be about the same cost or a bit more than the 50mm Art so not affordable for me at present. I still like my 24mm. It has weaknesses but I gets great results when working to its strengths – a little bit of post processing always helps.

  • tedtedsen

    the rumors about the 300-600mm coming, my opinnion is there is no need for it sigma already have 300-800 and the better 800mm prime. but the soft kittlens 12-24mm v2 needs upgrading it is terribel on d800 or d4s cameras the high end sensor onley show how bad the optics are

  • wus

    I’d love to see a 35-70 f1.8 Art for APS-C cameras, to complement the 18-35 f1.8 Art. This would make all the fast primes from 18 to 85mm obsolete (for me, if the 35-70 f1.8 is equally good as the 18-35).

    And perhaps later on even a 70-135/1.8 Art. This could be for full frame.

  • AerialPipePix

    How about an X mount for the Fuji cameras on the Sigma18-250 f3.5-6.3 DC Macro OS HSM lens? Fuji doesn’t cover this range in a single lens. A mount change has to be very cost efficient way to get into the Fuji user crowd with a walk-a-round/travel lens at a very affordable price.

  • Vamp898

    MFT Sensor? LOL!

    Why would they not just use their existing and well working APS-C Sensors? Their DN-Lenses are made for APS-C, they are just “usable” for mFT also.

  • Megatron

    A lens I would buy? The 50mm for a reduced price! If they can make more of these lenses for under $600, that would be amazing for me. $1000 is a bit high for standard primes (albeit good ones).

  • DC

    It would be great if Sigma could have something like Sony RX100 series – focusing on low ISO performance, zoom lens with large aperture, internal flash, and IBIS.

    • Vamp898

      Thats against the Sigma Philosphy and you dont really need it anyway.

      As far i tested the Sigma DP Series, if you use an DP and crop you have still better image quality than using the RX100 and zoom.

      • DC

        Those are things that I would like to see on the future DP series, and I really hope Sigma could improve on those areas. Or, when Sony starts to implement their organic sensor or 3-layer sensor on the RX100 series, it might be the end of the DP series.

  • Schuttelpruts

    I would love the 300-600 F4 together with better memchanical tc’s 1.4 and 2.0. The current ones can’t handle the weight of a heavy body icw a lens like the 120-300

  • Alberto

    I would like to see the DP cameras can change lenses.

  • HowardLive

    Seems Sigma’s highest immediate priority is producing a 24mm f/1.4, and I agree with that – largely because that’s the lens that benefits crop and full-frame cameras most equally. Mid-wide 35mm equivalent for the former, wide-angle for the latter.

  • Jeffry De Meyer

    How set is sigma on the quatro’s?
    Could the be nudged in to setting up the dp3q with 9 aperture blades to. Out of focus on the merril dp3 is very busy

  • Dials

    Any opinions on / rumors about a redesigned global vision 50-150 2.8 after its Canon mount discontinuation a few months ago?

  • Janum

    I have the Sigma 17-50mm 2.8. I love this lens, especially at 28-35mm. I would love to see a high quality 17-85mm 2.8 at about the same price point.

  • Jarno Pelkonen

    One vote for image stabilized wide-angle Art zoom. Maybe 16-35/2.8 OS A? Or even 16-40/2.8 OS if feasible. Larger aperture is less important for me in wide-angle lenses, but OS is a must.

    Additional thumbs up weather-proofing of zooms. I do not know the reasons why Sig,a left it out of the 24-105/4.

  • john

    support a 24-40mm f2 lens. Hope sigma is listening.

  • SimenO

    Three more on the wish list:
    – A replacement for Sigma 4,5mm f/2,8, with smaller aperture, lower price, lighter, smaller, better coatings and “Art” naming.
    – A short portrait tele companion to Sigma 18-35mm f/1,8. My guess is 50-100mm f/2,0 OS.
    – A cheap lightweight mirror tele lens with AF and OS. My guess is 400mm f/4 or 600mm f/5,6. I guess they improve the ring bokeh dramaticaly with an apodizing edge front glass. Rear end filter holder. Huge lens hood.

  • Ra

    There has also been a recent cut-down of the shorter telezooms but I don’t see any mention of possible replacements here?

    The 50-200 f5.6 I can understand is dead. Given the reviews of the newest 18-200 there is no room for that anymore. The latest 18/28-250/300 superzooms are also closing in on the low cost 50/70-300s, and may soon be “good enough” to replace them, so perhaps we won’t see a direct replacement for the 70-300 OS even…

    But there should still be room for shorter telezoom for the more demanding enthusiasts. Sigma has recently discontinued the exellent 50-150 f2.8 and the 100-300 f4 years ago. Personally I miss a lightweight sports lens for APS-C sensors. The 50-150 f2.8 is good, but I could often wish for something a little longer in the long end without loosing shortness in the short end (70mm on APS-C is too long for indoor sport and events). Neither the latest 50-150 nor the 100-300 where lightweight lenses, and I’d be willing to loose some range or aperture at the long end to get it down to around a kg.

    Actually, I think my favorite could be a 50-250 f2.8-4, something like a merge between the 50-150 f2.8 and the pentax 60-250 f4. To be a full replacement is has to keep f2.8 also when zoomed somewhat in, and perhaps still have something like f3-3.2 at 150. It has to meet the weight of the 60-250 f4 at 1 kg (personally I believe the latest 50-150 OS didn’t sell well because of the exessive weight). As a sport/event lens it could renounce a little corner sharpness at the longest range/widest aperture (if that could help keep price/weight down and as the corners are usually out of focus anyway for that kind of images), but should clear up on stopping down to f5.6 for landscape work.

    It could maybe also be possible to replace the traditional 70-200 f2.8 fullframe with a 70-300 f2.8-4 at around 1.5 kg given the same design goals?

    • SigmaRumors

      You’re right, it’s very open in this area, for both APS-C and full-frame. Absolutely nothing surfaced about such lenses as of yet, so it’s pure speculation at this time.

      People seem to want an Art version of the 70-200mm f/2.8 (I guess, to be at least as good as the Canon equivalent, but much less expensive).

  • Ra

    I don’t think we’ll see a direct replacement for the 120-400. Having almost the same size, weight, price as the 150-500, and showing little image quality advantage it clearly looses in the competition with the xx-5/600s.

    The challenge from the Tamron 150-600 has to be met, but the question is how? By providing a direct competitor, a just-as-good-or-better xx-600? By continue living on the price difference down to the 150-500? I think it boils down to two strategies: surpassing (in length/quality) or undercutting (in price/size). A xx-400 may perhaps do both, undercutting in price and weight, and surpassing in image quality, but the question is then how the market will react to the apparently weaker specifications, it may be that it won’t sell if it isn’t a xx-5/600.

  • Ra

    I believe a 24-70 f2 is only wishful thinking. A lens that trasitions from retrofocus to a light tele with that wide aperture may be more difficult to design than people here can imagine. The 18-35 f1.8 is much easier as it is all-the-way in the retrofocus area and also has a far smaller zoom range (2x vs almost 3x).

    • SimenO

      Retrofocus is not an on off optical property. Its as gradual as focal length. Retrofocus is a scale from strong to none to the opposite, just like focal length can be designed to go from wide to normal to tele.

      That said, a 24-70 f/2,0 for full frame would be a heavy beast of exotic glass, just like the 18-35 f/1,8 is compared to a 17-55 f/2,8.

      • Ra

        Yes, I see that. The superzooms use this to the limit and beyond, but it still compilcates the design to a larger degree than we see in the 18-35 f1.8, and may make it impossible to create such a lens with a quality, size and price that the market can accept.

  • CommonSense

    The 85mm f/1.4 Art is the one I want next. A 135mm f/2 or f/1.8 (preferably without OS) would be the one after that. With primes like the 50mm f/1.4 Art, I don’t want zooms 🙂

  • Kevin Freels

    That 24-70 f2 would make a lot more sense as a crop lens. Design wouldn’t be difficult. Just a slight change in the rear optics. The size would remain relatively the same. Just focusing the light onto a smaller area rather than letting 60% of the light spill over the sensor, you should have enough light to get to f2.

  • BugEyes

    I want OS primes. The D810 class cameras need glorious glass to reach their potential.

    • SimenO

      Having sensor based image stabilization i couldn’t care less about OS. Its just driving the costs and sacrificing optical quality.

      • Will

        Most cameras on the market don’t have sensor based stabilisation, so OS is still useful whether you care more for it or not.

        Driving the costs – yes

        Sacrificing optical quality? That is hardly relevant with today’s technology, 70-200 F2.8 II, top of the line performance, has IS.

        200 F2.0 IS, also has IS

        not to mention 300 f2.8s, 400 f2.8s, 600 f4.0s

  • Jeffry De Meyer

    Dp4 85mm and every global vision lens FE mount please.

  • Tom

    I’m just hoping that the Quattro sensor proves itself against the Merrills; thus far I prefer the latter, especially OOC JPGs, whether it’s default sharpness I don’t know but the Quattro OOC looks ugly to me! Much prefer the Merrill’s acuity but the Quattro offers a better shooting experience in theory and better colour — I also expect more flexibility to push the RAWs.
    The DP1 with new 19mm is what I’m looking at but the SD1 plus 18-35mm is tempting me having compared generations and TTL OVF is still my favourite!

    • sammyg11

      On Flickr the colors on the Quattro look distinctively more pastel and “natural.” I’m surprised there hasn’t been more written about this by Merrill owners, but maybe it’s still too early. I’m guessing because scientifically the colors of the Quattro are either the same or better, but artistically they’re very very different.

      I have a feeling some people will prefer these new colors, but personally I feel like I’ll prefer the look of the Merrill. Won’t know for sure until I try it out, though. Thank goodness for this awesome trial program – my camera comes on Wednesday!

      • Tom

        The colours are definitely different but I’d be inclined to agree with others that greens are better and that’s a plus for me. Please do post your hands-on opinions here, colour is paramount so it will be interesting to see if it’s setting or sensor based (pastel shades).
        Despite the MP bump I prefer the texture of the Merrill (from what I’ve seen), for all the science and convincing talk from Sigma it does appear that the Quattro design loses some of the Foveon “look.”

  • xenon

    24-70 f/2 DG Art for APS-C – It’s my DREAM.

    • MMNME

      I would prefer it as a DG lens as the current one is. It is my dream too, I will throw my wallet at Sigma for that lens

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