Sigma 85mm f/1.4 DG HSM Art Lens For Sigma
SIGMA 85mm F1.4 DG HSM | Art
SIGMA 85mm F1.4 DG HSM | Art
SIGMA 85mm F1.4 DG HSM | Art
SIGMA 85mm F1.4 DG HSM | Art
in 35 offers
The lowest price for Sigma 85mm f/1.4 DG HSM Art Lens For Sigma right now is $899.95 at BIG W, compared across 22 retailers.
The all-time low was $852.01 on 23 Feb 2026 — today's price is 6% above the lowest ever. That's a little above the best price we've seen.
Prices last updated 6 June 2026.
Last updated at 06/06/2026 18:02:59
Sigma 4321955 85mm f/1.4 DG HSM Art Lens for Nikon, Black
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2ND HAND - Sigma AF 85mm f1.4 ART Nikon Mount
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Sigma 85mm F1.4 DG DN Art Lens - Sony FE
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Sigma 85mm F1.4 DG HSM Art Lens For Canon Mount For Nikon Mount For Sony E Mount Full Frame Standard
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95%new 85mm F1.4 DG HSM Art Lens Full Frame 85mm F1.4 Prime Lens For Canon Mount or Nikon Mount or
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Sigma For Sigma 85mm f/1.4 DG HSM Art Lens for Nikon F for Canon-EF
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Sigma 85mm F1.4 DG DN Art Lens for Sony E - BRAND NEW
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Sigma 85mm f/1.4 DG HSM Art Lens for Sony
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Sigma 85mm f/1.4 DG HSM Art Lens for Nikon (International Ver.)
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Sigma 85mm F1.4 DG HSM (Nikon) - BRAND NEW
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originally posted on ebay.com
Pros that have used this on their DSLR bodies know its an amazing lens. For beginners who complain its to heavy, I have nothing to say to you. I came from the canon 1DX mk III and Im happy to say the quality between mounts is still the same. Paired with the 62MP a7rIV this thing delivers!!! I highly recommend this lens. For those who would say to wait until they come out when the smaller compact version. Keep in mind, youre losing potential clients and building your portfolio, all for the reduction of .5-1lbs. Those of you who wants quality now so that you can build your business, this is the lens!
originally posted on adorama.com
(I?ve bought this lens for Sony and EF mounts) I?m primarily a singer/songwriter live streamer that does some content. I?m currently using 4 canon RP?s with this lens and others. There?s just ?something? about this lens. It?s super sturdy and just looks great. Very sharp and cinematic on 24fps. I like it better than all my RF ISM (the cheaper ones) primes. It focuses faster and quieter, too. I even like the look of this lens better than the giant/expensive Canon 28-70 L f 2.0 that I bought and sold. For what I do - it makes more sense to have 3-4 different primes on different cameras instead of one giant/expensive one. I am hoping Sigma releases all these on RF mounts. If they do I?ll probably replace most everything I have with more of these awesome Art lenses. One ... More(I?ve bought this lens for Sony and EF mounts) I?m primarily a singer/songwriter live streamer that does some content. I?m currently using 4 canon RP?s with this lens and others. There?s just ?something? about this lens. It?s super sturdy and just looks great. Very sharp and cinematic on 24fps. I like it better than all my RF ISM (the cheaper ones) primes. It focuses faster and quieter, too. I even like the look of this lens better than the giant/expensive Canon 28-70 L f 2.0 that I bought and sold. For what I do - it makes more sense to have 3-4 different primes on different cameras instead of one giant/expensive one. I am hoping Sigma releases all these on RF mounts. If they do I?ll probably replace most everything I have with more of these awesome Art lenses. One of my favorite YouTubers (for settings, reviews, advice) is Todd Dominey and his A camera setup is a Canon R5 and the Sigma Art 35 f1.4. I?m a fan! Thanks Adorama for the 60 days of free returns and quick shipping!
originally posted on adorama.com
Just wanted to leave a review to mention that while I did end up returning the lens, I was absolutely totally impressed with it's capability. Beautiful photos, beautiful bokeh, well built, solid material. But bf advised it is huge. The pictures here seem smaller honestly than it looked in person, especially the length of the lens. Because of it's size it was too much for me to handle, especially given I do a ton of video content, so stability was a huge issue.FYI, Adorama was awesome about the return, nothing but professional and would absolutely purchase from them again.
| Focal Length | 85mm |
| Maximum Aperture | f/1.4 |
| Minimum Aperture | f/16 |
| Lens Mount | Sigma SA |
| Lens Format Coverage | Full-Frame |
Sigma 4321955 85mm f/1.4 DG HSM Art Lens for Nikon, Black
Affiliate Disclosure: We may receive a small commission for purchases made through this link at no extra cost to you. This helps support our site. Thank you!
2ND HAND - Sigma AF 85mm f1.4 ART Nikon Mount
Free delivery between Tue – Wed
Sigma 85mm F1.4 DG DN Art Lens - Sony FE
Free delivery
Sigma 85mm F1.4 DG HSM Art Lens For Canon Mount For Nikon Mount For Sony E Mount Full Frame Standard
Delivery $40.37
95%new 85mm F1.4 DG HSM Art Lens Full Frame 85mm F1.4 Prime Lens For Canon Mount or Nikon Mount or
Free delivery
Pros that have used this on their DSLR bodies know its an amazing lens. For beginners who complain its to heavy, I have nothing to say to you. I came from the canon 1DX mk III and Im happy to say the quality between mounts is still the same. Paired with the 62MP a7rIV this thing delivers!!! I highly recommend this lens. For those who would say to wait until they come out when the smaller compact version. Keep in mind, youre losing potential clients and building your portfolio, all for the reduction of .5-1lbs. Those of you who wants quality now so that you can build your business, this is the lens!
(I?ve bought this lens for Sony and EF mounts) I?m primarily a singer/songwriter live streamer that does some content. I?m currently using 4 canon RP?s with this lens and others. There?s just ?something? about this lens. It?s super sturdy and just looks great. Very sharp and cinematic on 24fps. I like it better than all my RF ISM (the cheaper ones) primes. It focuses faster and quieter, too. I even like the look of this lens better than the giant/expensive Canon 28-70 L f 2.0 that I bought and sold. For what I do - it makes more sense to have 3-4 different primes on different cameras instead of one giant/expensive one. I am hoping Sigma releases all these on RF mounts. If they do I?ll probably replace most everything I have with more of these awesome Art lenses. One ... More(I?ve bought this lens for Sony and EF mounts) I?m primarily a singer/songwriter live streamer that does some content. I?m currently using 4 canon RP?s with this lens and others. There?s just ?something? about this lens. It?s super sturdy and just looks great. Very sharp and cinematic on 24fps. I like it better than all my RF ISM (the cheaper ones) primes. It focuses faster and quieter, too. I even like the look of this lens better than the giant/expensive Canon 28-70 L f 2.0 that I bought and sold. For what I do - it makes more sense to have 3-4 different primes on different cameras instead of one giant/expensive one. I am hoping Sigma releases all these on RF mounts. If they do I?ll probably replace most everything I have with more of these awesome Art lenses. One of my favorite YouTubers (for settings, reviews, advice) is Todd Dominey and his A camera setup is a Canon R5 and the Sigma Art 35 f1.4. I?m a fan! Thanks Adorama for the 60 days of free returns and quick shipping!
Just wanted to leave a review to mention that while I did end up returning the lens, I was absolutely totally impressed with it's capability. Beautiful photos, beautiful bokeh, well built, solid material. But bf advised it is huge. The pictures here seem smaller honestly than it looked in person, especially the length of the lens. Because of it's size it was too much for me to handle, especially given I do a ton of video content, so stability was a huge issue.FYI, Adorama was awesome about the return, nothing but professional and would absolutely purchase from them again.
If you're reading this, you have probably already read all the technical reviews of this fabulous lens. I bought an EF mount version to use on a Canon R5. Basically, that combination makes "soft" focus shots a thing of the past; it takes the whole notion of "missed" shots out of the equation. Yes, it is huge, and heavy. It's not a "travel" lens, or "walk-around" lens. I use it exclusively in the studio, with strobes, for portraiture; but that said, I could definitely see it being used by landscape photographers. I got it because I was interested in taking my photography as far as I could, technically. I think it achieves that purpose. The longer I do this, the more I am able to see, in my own photos. The Sigma Art lenses have their own "look" I think, having to do ... MoreIf you're reading this, you have probably already read all the technical reviews of this fabulous lens. I bought an EF mount version to use on a Canon R5. Basically, that combination makes "soft" focus shots a thing of the past; it takes the whole notion of "missed" shots out of the equation. Yes, it is huge, and heavy. It's not a "travel" lens, or "walk-around" lens. I use it exclusively in the studio, with strobes, for portraiture; but that said, I could definitely see it being used by landscape photographers. I got it because I was interested in taking my photography as far as I could, technically. I think it achieves that purpose. The longer I do this, the more I am able to see, in my own photos. The Sigma Art lenses have their own "look" I think, having to do with the extreme sharpness, but also with the color and contrast (in comparison to Canon glass). One more thing I will add, that I think is important.....when you are using most lenses, even great ones, wide open or at very wide apertures, a common thing to see is axial chromatic aberration, which tends to destroy contrast. You won't see that when using this lens....which is why it seems so sharp, even wide-open. A bit of a chore to use due to the size/weight, but....very highly recommended.
Purchased the Signa 105mm f1.4 to pair with a 1Dx mk iii for slightly more reach during outdoor portrait shoots; however, it is paying itself off for headshots as well indoors. Auto focus is accurate and fast. Sharpness and contrast excellent. The lens is moderately heavy and slightly bulky, but the results out weigh this for me. While I prefer to shoot primarily free hand, the Arca compatible tripod collar makes switching from free hand to tripod fast, and the collar is removable! Would I purchase this lens again: Definitely!
This lens design has the potential to be among the extremely few designs shorter than 85mm capable of the superb optical performance, i.e. corner to corner excellent detail on a plane at infinity at f/2.8, which photography of starry skies often demands, especially for astro-landscape, as opposed to pure astro work where no land is in the image and longer lenses are employed, on average, and everything is done on an equatorial mount/clock drive. For that kind of work, f/4 is more commonly used and works out pretty well with some of the best lenses, though sometimes 5.6 is used as well, at least thats my sense. For astro landscape, even larger apertures like 2.0 and bigger are often used, though not without further sacrifice. Equatorial mounts are of great usefulness ... MoreThis lens design has the potential to be among the extremely few designs shorter than 85mm capable of the superb optical performance, i.e. corner to corner excellent detail on a plane at infinity at f/2.8, which photography of starry skies often demands, especially for astro-landscape, as opposed to pure astro work where no land is in the image and longer lenses are employed, on average, and everything is done on an equatorial mount/clock drive. For that kind of work, f/4 is more commonly used and works out pretty well with some of the best lenses, though sometimes 5.6 is used as well, at least thats my sense. For astro landscape, even larger apertures like 2.0 and bigger are often used, though not without further sacrifice. Equatorial mounts are of great usefulness for astro-landscape as well, if you want to get anywhere near to the best possible results. Apart from lens design, the assembly of the lens plays a huge part in the resulting quality, but so does the cameras sensor to lens mount alignment. Unfortunately the Sony Alpha sensors are relatively poorly aligned, on average, if my sample of four A7r IIs is any indication, not to mention the inherently inferior method of Sonys sensor alignment, using shims which come in fixed 50 micron increments. An error in a teardown article suggested it was 5 microns - it isn’t. It looks as though Sony cannot, given this method, individually adjust cameras the way Canon can, by using their spring-tensioned screw design, on the assembly line. The four A7r IIs that I and a colleague very carefully measured were out of alignment by between 30 and almost 50 microns. The one EOS, a 5D II, which I measured, was off by about 6 microns. Under 10 to 12 microns is pretty tolerable for this insanely demanding optical problem, but 6 is highly desirable. After months of hassle I was able to adjust my own A7r II to within ~10 microns by shimming the lens mount ring. Long story. But on that account, and on account of the performance of several other lenses which I own, and my own system for measuring camera sensor to mount alignment, I was able to confidently conclude that the focus tilt I saw in three copies of the Sigma 40 ART was a defect of the lens in by far the greatest part, or rather of the calibration of the lens which is likely done with shims under its rear mounting ring, and not a defect of the Sony’s sensor alignment, except to a small degree. The best of three samples, which were otherwise superb, focussed at about 80 feet in the top right, while focussing at about 130 feet at the lower middle edge, which is a 25 micron error and more than can be overcome by best possible compromise focussing at f/2.8, if stars are to appear to be in focus. F/4 might work with that copy. Given tight calibration of this issue, these lenses would work at f/2.0 and even wide open, though certainly not as well and with too much falloff wide open. The worst of the three had perhaps twice that tilt error, roughly.I checked to see whether the sheer weight of this lens on the Sony’s lens mount ring was changing the focus and it was not. I could see zero difference in focus by pressing upward on the front end of the lens. Also if it had been, it would have been causing the opposite tilt problem. Some people allege that copies of Sigma lenses purchased in Japan are great, and that they suspect that cherry picking is being done in that way. My limited sample of having tested only four copies of two types, total, is far too small to tell, but what I’ve seen at least doesn’t contradict that possibility, as the sample variation problem in each of those four lenses has been larger than the fundamental optics problems which Sigma has successfully overcome, and to an increasing degree over time. My sense of the one Sigma 50 ART which I examined was that had it been a good copy, it would have been usable for stars at f/4. Pretty good, but not good enough, still. For a million other uses, no problem, but for stars, most of the time, forget it. 2.8 or bust.When the Sigma 40’s were refocussed, each part of each copy produced a superb image, including with point light sources (bright city lights at over 10 miles or bright stars), not having more than a very little bit of the usual batwings, spaceships, angels and other shapes caused by the various aberrations which lenses exhibit to varying degree around their periphery and which are routinely referred to as coma in reviews. This is extraordinary and a sign of a superb design. I could see none of the focus shift when stopping down from 1.4 to 2.0 or 2.8 which others have alleged, so it was at least very small, and the curvature of field was fairly small though certainly visible, and seemingly smaller than the tilted focus problem. Why bother to make the lens capable of superb detail at 1.4 or 2.0 or 2.8 yet not capable of being in focus on a plane at 2.8? If all you want is in-focus eyes in a portrait, that’s easy for lens designers, though not for AF system designers. Perhaps it’s just too hard.Given that Sigmas entire push into very fast lenses was in part motivated by inspiration from within the company to make lenses for this very purpose, its puzzling to me why such a relatively easy-to-fix kind of flaw would be allowed to spoil an otherwise stunning performance. It could be that looking at more copies would lead to finding one which happens to be right, but for now Im going to put on hold my search for a 35 or 40mm lens to use for stitching starry skies, as no clear candidates seem to exist. This after my colleague and I have examined, either in person or by studying reviews and samples, essentially every such lens on the market. The vaunted EOS 35 f/1.4L II required nine copies for a colleague and I to find one marginally usable copy, mostly on account of strong field curvature. The three copies that I examined would require stopping down to f/6.8 to become usable, making them a total waste of time, despite this lens being widely regarded as greatly superior to the 35 ART, for example. And so on. I hope Sigma ups its QC game further because I really like what theyre trying to do. The same goes for Sony and the Alpha full-frame bodies. They really need to switch to Canons system, even if it means making the body a few mm thicker, where each body is quickly and easily calibrated on the assembly line to within something like 6 microns using three spring-tensioned screws and a scanning laser micrometer setup to give instant, real-time feedback on the sensor position. 100 microns is the thickness of a typical sheet of laser paper! The requirements are ridiculously tight for this kind of work, much more so than what is implied by the night sky work that we see online, usually at very low resolutions, almost all of which is a mess when you get to see it at 100%, from both lens and camera optical limitations and noise issues as well. If you want to see what can be achieved, look at what the pure astrophotography photographers manage. It’s pretty often seemingly flawless, though it usually involves a huge and complex effort to make a great portrait of a given nebula, for example.
This lens epitomizes what one would consider an artists lens that defies the normal technical parameters you would normally use to explain its attributes. In this case I will specify the camera ( Lumix S1r ) and the subject ( multiple selections of colorful and challenging flowers, translucent whites to rich saturated blooms all mixed ). I will not include an image because the reproduction would never do it justice here however, the following is how I perceive this lenses magic in transforming imagery. This lens is like a Parisian enchantment vs a German romance of technology. Translucency is beautifully detailed velvet with transitions of color and contrast elegantly rich yet smooth. The lens shot under morning light with proper subject with transfigure your ... MoreThis lens epitomizes what one would consider an artists lens that defies the normal technical parameters you would normally use to explain its attributes. In this case I will specify the camera ( Lumix S1r ) and the subject ( multiple selections of colorful and challenging flowers, translucent whites to rich saturated blooms all mixed ). I will not include an image because the reproduction would never do it justice here however, the following is how I perceive this lenses magic in transforming imagery. This lens is like a Parisian enchantment vs a German romance of technology. Translucency is beautifully detailed velvet with transitions of color and contrast elegantly rich yet smooth. The lens shot under morning light with proper subject with transfigure your imagination into an honest magical reality. This review may be panned by many for its seeming frivolity, yet it is the best I have to offer explaining the consistent results I have attained. A real artists lens in the right hands, most powerfully used wide open. Just my thoughts.....( note I own 17 different lenses designed for the L system ) P.S. technical features are excellent including AF.
Big and heavy-- yes. But image quality is amazing. I use this for clients and personal work. It does well across three systems-- Canon, Sony, and Fujifilm GFX. On the GFX 100s-- I've not found the dark corners that others have. The images with that combo are similar to what I've gotten with large format. I've moved away from film for many reasons (vegan for one) and am so happy to be able to create that 3d effect again. Very glad to have this. This helps create images that you can't get with a phone. Worth the weight, indeed.
Nikon F mountI bought this lens exclusively for photographing Milky Way panoramas. Dropping down from the Sigma Art 50mm, I had very high expectations of this lens. It doesn't disappoint. There is very little corner fall-off. In fact, I'm currently shooting it wide open @ f/1.4. Coma is almost not even detectable, and astigmatism is not evident at all. This is the sharpest 35mm based lens I've ever owned. I have only been out twice with the 40 so far. The first trip got clouded out. But last night I pulled off a fabulous 220 deg 4-row MW pano. I am thrilled to own this lens.
I had spent several weeks reading about this lens before I decided to purchase it. I'm a landscape photographer and 90% of my photographs are interior forest captures, primarily of waterfalls in the Appalachian mountains. I use the Sony A7 RII and A7 RIII cameras. I already own the 16-35 f/2.8 GM and the 24-70 f/2.8 GM which both are great zoom lenses. As far as primes, I use the 35mm 1.4 Sony Zeiss, the 50mm 1.4 Sony Zeiss and the 55mm 1.8 Sony Zeiss.. What I felt I needed was a great prime lens that performed at least at the level or beyond the level particularly of the 50mm 1.4. Because I make many of my photographs just after sunrise or when the sun is low in the horizon, natural light is low, and in many of the locations there are dense tree canopies shading ... MoreI had spent several weeks reading about this lens before I decided to purchase it. I'm a landscape photographer and 90% of my photographs are interior forest captures, primarily of waterfalls in the Appalachian mountains. I use the Sony A7 RII and A7 RIII cameras. I already own the 16-35 f/2.8 GM and the 24-70 f/2.8 GM which both are great zoom lenses. As far as primes, I use the 35mm 1.4 Sony Zeiss, the 50mm 1.4 Sony Zeiss and the 55mm 1.8 Sony Zeiss.. What I felt I needed was a great prime lens that performed at least at the level or beyond the level particularly of the 50mm 1.4. Because I make many of my photographs just after sunrise or when the sun is low in the horizon, natural light is low, and in many of the locations there are dense tree canopies shading the area. Based on my experience, the 1.4 aperture suits these conditions more favorably. While I really appreciate the ther two GM zoom lenses I use, I prefer using the faster primes based on the lighting and image quality. In several instances, I have found myself in an uncompromising location while composing a capture due to the physical constraints of my location...the 35mm was a bit too wide with the subject too distant...the 50mm brought me too close to the subject. I felt I needed a lens with an in-between focal length that would perform at least on a comparable level or better. I made the decision to buy the Sigma 40mm 1.4 Art lens and am so pleased to confirm this lens is a complete winner. This lens, along with only a very few others, rates as one of the most sharp, if not the most sharp and well made lens built to date. There are no compromises in the design and build quality of this lens. It is clearly obvious that Sigma knew what they wanted to accomplish and they set out to accomplish it to the very best of their ability. This lens is a first rate performer in a unique class of distinction. Aside from sharpness, the color rendering of this lens is beautifully and richly natural to the eye. Everything about this lens is first rate. Aside from the lens, the strapped carrying case is a nice addition (although I'll probably never use it). As far as lens hoods are concerned, the lens hoods of all the other camera manufacturers pale in comparison to the locking lens hood Sigma designed for this lens. I found it so refreshing for a change to find, appreciate and respect the uncompromised integrity of Sigma's 40mm 1.4 Art especially in an age where other manufacturers constantly scramble and compromise the design of their products to gratify the notions and wants of the conformist fickle masses. Thank you Sigma for your design and release of this winner of a great lens.
| Focal Length | 85mm |
| Maximum Aperture | f/1.4 |
| Minimum Aperture | f/16 |
| Lens Mount | Sigma SA |
| Lens Format Coverage | Full-Frame |
