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Sigma cinema2/17/2024 You have to detach the rubber HDMI cover, fold back the USB cover and then line up two plugs and set of pins while tightening the attachment screw. The EVF unit does not attach particularly easily. You can use these for detachable camera strap eyelets, but the one on the left side is also used for attaching the EVF-11 electronic viewfinder. In fact the fp L has three standard screw thread attachment points – one n the base, which is a regular tripod socket, and one in either side of the body for fixing on accessories. For a start, Sigma is selling two optional grips for the fp L to make it a big more manageable with bigger lenses – the Hand Grip HG-11, which screws to the side, and the Large Hand Grip HG-21 which fixes to the base. If you do want to use the fp L (or the fp) as a regular handheld camera, these smaller Sigma Contemporary primes seem to fit it best. We previously tried the Sigma 45mm F2.8 DG DN | Contemporary prime lens on the earlier Sigma fp, and that was a nice fit. (Image credit: Rod Lawton/Digital Camera World) The Sigma 65mm f/2 DG DN prime we used alongside it is a better match, but still pretty big. We tested the fp L with the Sigma 24-70mm f/2.8, which might be OK on a big Panasonic Lumix S, but it makes the little fp L absurdly unbalanced. ![]() We also tried it with the Sigma 24-70mm F2.8 DG DN | Art lens, which is just way too big for this camera and better suited to hefty L-mount cameras like the Lumix S1 series or Leica SL2. We tried the fp L with the Sigma 65mm F2 DG DN | Contemporary prime lens, which is as big as we would probably like to go with this camera handheld. The Sigma fp L is tiny, but Sigma’s L-mount lenses are not. You can use the Sigma fp L ‘naked’ and it’s perfectly effective within those limitations – but there is another. It’s also created a camera with no built in viewfinder, no in-body stabilization, no grip and a fixed rear screen. Sigma has done a remarkable job in designing the smallest full frame digital camera ever, but that’s not quite the end of the story. ![]() Having a fixed rear screen feels quite primitive in this day and age, but you can very easily add an external monitor or monitor/recorder – the fp L has direct 1/4-in mounting points on the sides. Other improvements include the addition of two new Color modes – the new Powder Blue and Duotone modes now bring the total to 15. The contrast based autofocus in the original Sigma fp proved pretty plodding, so the new hybrid phase-detect capability in the fp L is very welcome, and comes with automatic face and eye detection and subject tracking modes. There’s no in-body stabilization and many L-mount lenses don’t have optical stabilizers – but the Sigma fp L does have EIS (electronic image stabilization) which brings a 1.24x crop factor. If you shoot 4K, you can get a zoom ratio of up to 2.5x, and in full HD it can go to 5x. Essentially, you can zoom ‘digitally’ without losing resolution because you’re already starting with a surplus of megapixels. The 61MP resolution has no direct impact on the video specifications – both the fp and the fp L capture full width 4K video at up to 30p, though the extra resolution of the fp L ushers in a new concept – a Digital Crop Zoom feature. In theory, this may lead to a slight softening of fine detail but should prevent any moiré interference effects. Interestingly, in the pursuit of all-round image quality, Sigma has decided to buck the trend and include a low pass filter. That 61MP sensor deserves a closer look because it makes the fp L the joint highest resolution full frame camera you can buy, alongside the Sony A7R IV (also 61MP). The EVF-11 is an optional extra, but typically offered with the camera as a cost-saving kit.
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