Sigma 35mm F1.4 DG II Art Announced – Smaller, Lighter, and Optically Superior

Lens News

by Nino LeitnerFebruary 24^th, 2026

Subscribe to News - Lenses

Ahead of CP+ 2026, Sigma has unveiled the 35mm F1.4 DG II | Art, a completely redesigned successor to its popular mirrorless 35mm F1.4 prime. The new lens is approximately 14% shorter and 20% lighter than its predecessor while delivering what Sigma claims is its best-ever optical performance at this focal length, and it will be available in L-Mount and Sony E-mount for $1,059.

The 35mm focal length holds a special place in Sigma’s history. It was the original DSLR-era 35mm F1.4 DG HSM | Art that launched the entire Art line back in 2012, fundamentally changing the perception of third-party optics in the process. Sigma followed that up with the 35mm F1.4 DG DN | Art in 2021, a ground-up redesign for mirrorless cameras. Now the DG II takes another significant step forward, and the improvements are not just incremental.

A completely new optical design

The 35mm F1.4 DG II | Art features a redesigned 15-element, 12-group optical formula (the predecessor used 15 elements in 11 groups). Sigma has incorporated four high-precision aspherical elements and two SLD (Special Low Dispersion) glass elements, along with new glass materials that the company says were previously difficult to process. The primary target: suppression of axial chromatic aberration, which is notoriously difficult to control in large-aperture lenses and directly impacts both in-focus sharpness and bokeh quality.

Speaking of bokeh, the 11-blade rounded diaphragm carries over from the previous generation, maintaining a circular aperture shape even when stopped down from the maximum f/1.4. Sigma has also refined the surface accuracy of its aspherical elements to minimize onion-ring artifacts, contributing to smoother out-of-focus rendering overall.

New to this lens is the AAC (Advanced Amorphous Coating), a freshly developed anti-reflective treatment featuring a low-refractive-index amorphous layer. According to Sigma, this coating significantly reduces the internal reflections responsible for ghosting and flare, which should be welcome news for filmmakers and photographers who frequently shoot into challenging light.

Compact design through a floating focus system

The most immediately noticeable change is the reduced footprint. By adopting a floating focus system, Sigma has achieved both improved optical performance and a more compact body. The L-Mount version measures 73.0 x 94.0mm and weighs 530g, while the Sony E-mount variant comes in at 73.0 x 96.0mm and 525g. For context, the outgoing 35mm F1.4 DG DN | Art weighed 645g in L-Mount, so the weight savings are substantial for a lens you might carry all day on a gimbal or handheld rig.

The filter thread has also shrunk from 72mm to 67mm, which is a practical benefit for anyone already invested in 67mm filter sets. Minimum focusing distance sits at 28cm / 11.1in with a maximum magnification ratio of 1:5.4, and the angle of view is 63.4 degrees on both mounts.

Dual HLA autofocus and video-friendly features

Autofocus is handled by Sigma’s dual HLA (High-response Linear Actuator) system, the same motor technology found in the 35mm F1.2 DG II | Art that launched last year. The dual-motor arrangement is key to driving the large focus group quickly and quietly despite its mass, something that matters a great deal in video applications where AF noise can bleed into audio.

Focus breathing has been specifically addressed through optimization of the focus group arrangement and aspherical shape. Sigma says the change in angle of view during focus shifts has been minimized, which is critical for filmmakers who need natural-looking focus pulls. We will, of course, need to verify this claim with our own testing, but Sigma’s recent track record with breathing suppression on their Art II generation lenses has been strong.

Build quality and ergonomics

The lens retains the full complement of Art line controls: two AFL (Auto Focus Lock) buttons positioned for easy access in both landscape and portrait orientation, a focus mode switch, a manual aperture ring with both click and de-click functionality, and an aperture ring lock switch. The de-clickable aperture ring is particularly relevant for video shooters who need smooth, stepless iris pulls.

Construction combines aluminum with TSC (Thermally Stable Composite), a polycarbonate material with a thermal expansion rate similar to aluminum, providing rigidity without excessive weight. The lens features dust- and splash-resistant sealing throughout, and the front element receives water- and oil-repellent coatings for protection in adverse conditions. A petal-type lens hood with a locking mechanism is included in the box, along with a pouch, front cap, and rear cap.

Pricing, availability, and market context

The Sigma 35mm F1.4 DG II | Art will be available starting April 16, 2026, for $1,059 in the US and £849 in the UK. That represents an increase over the outgoing model’s price point, but still positions the lens well below Sigma’s own 35mm F1.2 DG II | Art at $1,549, offering a clear value proposition for shooters who want Art-line performance without the F1.2’s premium.

The lens arrives alongside the new Sigma 15mm F1.4 DC | Contemporary for APS-C systems, both timed for CP+ 2026 in Yokohama. It is worth noting that the 35mm F1.4 DG II | Art is only available in L-Mount and Sony E-mount at launch, with no Canon RF mount option announced. Given Sigma’s expanding relationship with various mount ecosystems, including their recent AF cine zoom developments, it will be interesting to see whether additional mount options follow.

The Sigma 35mm F1.4 DG II | Art looks like a meaningful upgrade across the board, offering improved optics, reduced size and weight, and modern video-friendly features at a competitive price point. Have you been shooting with the previous 35mm F1.4 DG DN | Art, and does this update tempt you to upgrade? Let us know in the comments below!