Sigma SD1 Merrill User manual

Paradigm breaking. Epoch making. Liberating.
THE SIGMA SD1
DIGITAL SINGLE LENS
REFLEX CAMERA
WITH FULL COLOR
IMAGE SENSOR
The SIGMA SD1
For ultimate image quality
The real revolution starts here

Unwavering in the quest for photographic truth.
For a camera that mirrors the landscape of
the heart in images of impeccable quality.
Know that your restless yearning for the ideal camera
is far from a futile chase after an impossible dream.
We have entered the final stretch ….
More innovations and refinements lie ahead,
but the finish line is before our eyes.
Entranced by the photograph’s endless possibilities.
Inspired by the camera’s untapped potential.
In humble allegiance to the path of pure photography.
To all seekers after artistic truth, everywhere.
Let the revolution begin.
Paradigm breaking. Epoch making. Liberating.
Camera : SIGMA SD1 / FileType : X3F Raw, Exposure Mode : M - Manual Exposure, ISO Setting : 100, White Balance : Auto, Shutter Speed : 1/125s, Aperture Value : F9 Focal Length: 85 mm | Lens : SIGMA 85mm F1.4 EX DG HSM
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A masterpiece in the making.
A flagship is born
Have digital cameras
become boring?
Has digital camera technology
reached maturity? Or is it just that
no real innovations have appeared
in so long. Certainly, the digital
camera front has offered little to get
excited about in recent years.
This observation, shared by most
photography enthusiasts, is a fair,
if harsh, judgment on the current
state of the digital camera industry.
At Sigma, we have taken this
criticism to heart.
During the burst of digital camera
market growth in the second half of
the 1990s, innovations appeared at
a rapid pace in the areas of pixel
count and image processing
technology, including white
balance and noise reduction, not
to mention auxiliary functions like
face recognition. Real progress was
being made and there was plenty
to talk about.
More recently, digital cameras have
gained still higher pixel counts,
video capability, and other functions
that provide practical benefits and
convenience. These advances were
offered with the best of intentions
— people desired them. But if this
same progress is also behind the
feeling that cameras have gotten
boring, perhaps it is time to rethink
what a digital camera should be.
Technology in turmoil
The first electronic still camera
appeared about 30 years ago, and
mass-market digital cameras have
been around for about 15 years.
Looking back on the many stages of
photographic innovation since the
19th century, you can see just how
young the digital camera really is.
Considering the digital camera's
rapid popularization and the
accompanying innovations in
performance and convenience,
you would be excused for getting
the impression that nothing
remains to be accomplished.
Appearances to the contrary,
digital cameras and imaging are
in a period of turmoil.
Measured against the long span
of photographic history, digital
photography is still in its formative
years. In Sigma's view, there
is still considerable room for
development.
The idea that digital imaging
technology is already mature is,
in Sigma's opinion, open to debate.
Radical technology for real quality
With the huge popularity of digital
cameras, people are using them
in new ways. Digital images are
playing ever more important roles
in our daily lives.
As in the past, photography is
an ideal medium for preserving
memories and expressing creative
visions. What is new is the use
of photos as communication,
particularly through photo sharing
sites and social media. In this new
domain, photos are part of
a person's online presence, a way
to share interests and a catalyst for
relationships.
Technology and functionality
continue to evolve to support these
new applications. Today's digital
cameras are designed to make
it easy to perform many tasks,
thereby encouraging more people
to enjoy photography without
hesitation. This is a good thing.
But when it comes to the critical
core of digital photography —
the image capture system that
determines image quality —
the overwhelming majority of
digital cameras are still on the same
well-worn road. Their fundamental
technology has not changed since
the digital camera's babyhood.
It is precisely here — in this key area
of the capture system and image
generation process — that Sigma is
charting a new course.
With a single-minded focus on
generating true, high quality
images, Sigma is the only digital
camera maker dedicated to
developing direct image sensor
technology and cameras that
incorporate it.
Irreplaceable moments,
immortalized
Moving scenes, candid shots,
breathtaking scenery ….
To preserve these moments
truthfully with all their evocative
power, the image capture system
is of overarching importance.
As the bedrock of photographic
veracity, the capture system should
be the primary target of research,
development and innovation
efforts. After all, photography exists
to reflect truth, and cameras exist
to take photographs.
We are not denying the success
of developments aimed at making
cameras easier to use.
We simply believe in going to the
heart of the matter by focusing on
innovation that actually improves
the quality of photographs.
Just as film followed an
evolutionary path of incremental
improvement, so the digital
camera's image capture system
must steadily and resolutely evolve
to realize its full potential.
There is much to be done and we
are set on doing it.
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Camera : SIGMA SD1 / FileType : X3F Raw, Exposure Mode : M - Manual Exposure, ISO Setting : 100, White Balance : Auto, Shutter Speed : 1/125s, Aperture Value : F5 Focal Length: 85 mm | Lens : SIGMA 85mm F1.4 EX DG HSM
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Camera : SIGMA SD1 / FileType : X3F Raw, Exposure Mode : M - Manual Exposure, ISO Setting : 100, White Balance : Auto, Shutter Speed : 1/125s, Aperture Value : F5 Focal Length: 85 mm | Lens : SIGMA 85mm F1.4 EX DG HSM 07

An image capture system you can believe in.
Now, more than ever
Direct image sensor Color filter array (CFA) sensor
R: 100% G: 100% B: 100% Full color capture system has
three layers of photo detectors,
enabling it to capture 100% of
RGB color information directly.
With a conventional digital camera's sensor,
50% of the photosites are dedicated to green,
and 25% each gather red and blue color
information via a color filter array.
R: 25% G: 50% B: 25%
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Not another monochrome sensor
with color filters
The image sensor in almost all digital
cameras, with the exception of Sigma's, is
a color filter array (CFA) sensor. The image
sensor itself is monochrome; it detects light
intensity, but not color. The CFA overlaying
the sensor's light-sensitive photodiodes is a
mosaic of red, green and blue (RGB) filters
in a checkerboard-like grid. Therefore,
each photosite, corresponding to a single
pixel, receives just one of the three primary
colors.
In this kind of system, a 15MP CFA sensor
allots 7,500,000 pixels to green light and
3,750,000 each to red and blue light,
respectively. Left as is, this checkerboard
pattern would create a strange image,
so a process called color interpolation is
used to blend in neighboring pixel color
information. For example, a green pixel
gets color information from adjacent blue
and red pixels, and so on.
CFA sensor relies
on eye's sensitivity to green
Why does a CFA sensor assign twice as
many pixels to green as to red or blue?
Because the eye is most sensitive to green
light (figure 1). Human vision depends
mostly on wavelengths in the green range
to perceive fine detail and luminance
resolution.
The three charts in figure 2 all have the
same contrast. Notice how the green
background lets you detect fine detail
more easily. Most digital cameras take
advantage of this fact of human vision.
By capturing relatively more
green information, they can
get by with much less blue
and red information. Thanks
to this clever solution, a mere
monochrome image sensor
can be used to deliver color
images of high quality.
So, what's the problem?
Though it is true that our eyes
are most sensitive to green
luminance (sharpness and
contrast) information, we
also see blue and red chrominance (color)
information. But the unequal treatment
afforded these colors by a CFA sensor
causes a disparity between the luminance
resolution and chrominance resolution of
the photographic images it generates.
Unique, innovative direct image sensor
Unlike CFA sensors, the image sensor in
Sigma digital cameras uses three layers
of photodiodes to gather the entire red,
green and blue color information of light,
forming the world's one and only full
color capture system. Since introducing
its first-generation digital camera in 2002,
Sigma has maintained an unwavering
commitment to this unique technology.
The image sensor is made of silicon. When
struck by light, silicon absorbs shorter
wavelengths (blue) near its surface and
longer wavelengths (green, then red) at
deeper levels. The direct image sensor
takes advantage of this fact, using three
layers of photodiodes to capture all colors
of light at each pixel location. Like color
film in essence, this vertical structure
bypasses the need to gather different
colors at different horizontal locations.
All pixels capture full RGB color
This means that a direct image sensor
having 15,000,000 pixel locations is able
to capture full red, green and blue color
information, as is, at each pixel location. In
other words, all 15,000,000 pixel locations
can respond to all three primary RGB colors
transmitted by the lens. There is no need to
assign red, green and blue to separate pixel
locations, nor is it necessary to fabricate or
eliminate color information during image
processing. This full color capture system
is, in principle, capable of providing equally
high luminance resolution and chrominance
resolution.
Since typical photographic subjects do
contain an enormous amount of color
information, Sigma is convinced that
removing any discrepancy between
luminance resolution and chrominance
resolution is an important key to
photographic naturalism.
Unencumbered by a low-pass filter
Another thing: color filter arrays are
prone to false color patterns (moiré).
This problem is caused by interference
between repeating patterns of fine lines in
the subject and the mosaic pattern of the
color filter array itself. Moiré is typically
prevented by installing a low-pass filter in
front of the image sensor.
A low-pass filter works by removing the
higher frequencies of light that carry fine
detail. This does prevent interference
and, therefore moiré. But it also adversely
affects resolution and image sharpness.
Facing this tradeoff, some cameras use
CFA sensors without a low-pass filter,
accepting the inevitable color moiré
patterns as the price to pay for a sharper
image.
Sigma's direct image sensor design
doesn't use color filters, so it doesn't
need a low-pass filter to prevent the false
colors of moiré. The direct image sensor
captures the sharp image formed by the
lens without losing any information. As a
leading lens maker with uncompromising
standards of photographic image quality,
Sigma believes the ideal capture system
is one that receives full color information
at each and every pixel location.
Pure color and light: nothing added,
nothing lost
In CFA sensor-equipped digital cameras,
only one color is captured per pixel
location. Color interpolation is required
to generate a full color image from these
single-color pixels. Over the past decades,
color interpolation algorithms have
greatly improved, so that interpolation
errors are rarely a cause for concern in
today's digital cameras.
Nevertheless, light information lost in the
capture process can never be perfectly
reconstructed. This standard approach
cannot fulfill the promise of truly natural
images. In sharp contrast, Sigma's
direct image sensor has no use for color
interpolation and doesn't suffer from its
associated problems.
Sigma's technology generates naturally
faithful color images without needing to
add information. This is why the ambience
of the scene is so vividly captured in
photos taken with a Sigma digital camera.
This reflects Sigma's policy of protecting
the integrity of image information —
keeping the image pure.
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Do mega pixels matter?
Today's digital cameras have already
reached impressive pixel counts.
The figures seem sufficient to
generate high-resolution images,
and even to withstand scrutiny in
enlarged prints. A plausible case
is often made that the mega-pixel
wars are meaningless because digital
cameras already have enough pixels.
The claim gains further support from
an understanding that resolution
is not determined by pixel count
alone. In a photograph, resolution
also depends on interactions among
many other factors, including lens
characteristics, low-pass filter
response, noise reduction, and
processing of contrast and sharpness
parameters. By itself, elevating the
pixel count doesn't necessarily lead
to an appreciable improvement in
picture quality.
Consider the 14MP direct image
sensor used in the Sigma SD15 and
Sigma DP1/DP2. Despite having
a nominal 4.6 million figure for the
number of pixel locations, this sensor
produces images that are widely
recognized as having excellent
resolution.
Where resolution and
realism meet
Still, Sigma thinks raising the pixel
count is desirable and necessary
to achieve the most natural image
rendition. In digital cameras, the limit
of resolution is determined by pixel
pitch. When a certain level of detail
(spatial frequency) is exceeded in
a target object, the camera suddenly
loses all ability to resolve it.
This phenomenon is one reason why
photos that include fine detail can
end up looking unnatural.
As an example, say you are shooting
a landscape with grass in the
foreground and mountains in
the background. The thin, closely
spaced blades of grass are resolved
correctly by the sensor in some
areas, but exceed the limit of
resolution in others. On the other
hand, the ridges and surfaces of
the mountains in the distance have
a low enough spatial frequency to
be resolved correctly throughout.
In other words, the foreground
would appear partially blurred
against a consistently sharp distant
background. A human observer
would register the opposite: sharply
defined blades of grass nearby, and
hazy mountains in the distance.
This limit of resolution, which can
be at odds with the human visual
system, may be an unavoidable
fact of physics. But Sigma believes
innovation can make the problem
so imperceptible that we can
realistically pursue and achieve more
natural image depiction. If so, we can
look forward to being able to shoot
images that are minimally affected
by enlargement, and that retain a
three-dimensional ambience even
when viewed in small formats.
Further pursuit of high resolution is
worthwhile not to win the pixel wars,
and not even to make large-format
prints. Rather, Sigma believes it is
needed to achieve more natural
photographic results.
30MP equivalent
‘emotional image quality'
The 46MP direct image sensor
of the SD1 is a breakthrough that
triples the 14MP resolution of the
sensor used in Sigma cameras up to
now, while retaining the “emotional
image quality” that is unique to
a full-color capture system.
We enlarged the sensor to APS-C
size (1.5x focal length equivalent),
while narrowing pixel pitch, thereby
dramatically raising the pixel count
to 46MP (4,800 x 3,200 x 3).
The luminance resolution of this
sensor is, in fact, equivalent to that
of a 30MP CFA sensor as measured
on the standard B&W resolution
chart used in conventional digital
camera resolution testing.
With outstanding chrominance
resolution that is free of low-pass
filtering and color interpolation,
Sigma takes a bold leap closer to
the ideal, further enhancing the
advantages of a direct image sensor.
In terms of technology and
image quality, this represents
a significant advance.
Here at last is an image sensor for all
who have ever dreamed of a digital
camera breakthrough that can
deliver the ultimate in image quality.
Image quality at its bona fide best.
Astonishing 46MP resolution
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Camera : SIGMA SD1 / FileType : X3F Raw, Exposure Mode : M - Manual Exposure, ISO Setting : 100, White Balance : Auto, Shutter Speed : 1/125s, Aperture Value : F5, Focal Length: 70mm | Lens : SIGMA MACRO 70mm F2.8 EX DG 11

Camera : SIGMA SD1 / FileType : X3F Raw, Exposure Mode : M - Manual Exposure, ISO Setting : 100, White Balance : Auto, Shutter Speed : 1/125s, Aperture Value : F5, Focal Length: 70mm | Lens : SIGMA MACRO 70mm F2.8 EX DG
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Camera : SIGMA SD1 / FileType : X3F Raw, Exposure Mode : M - Manual Exposure, ISO Setting : 100, White Balance : Auto, Shutter Speed : 1/125s, Aperture Value : F6.3, Focal Length: 85mm | Lens : SIGMA 85mm F1.4 EX DG HSM
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Camera : SIGMA SD1 / FileType : X3F Raw, Exposure Mode : M - Manual Exposure, ISO Setting : 100, White Balance : Auto, Shutter Speed : 1/6s, Aperture Value : F8, Focal Length: 50mm | Lens : SIGMA 50mm F1.4 EX DG HSM 15

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Dedicated Dual TRUE II image
processing engine
A dual configuration of Sigma's
renowned TRUE* II image processing
engine powers the SD1, bringing
out the full potential of information
captured by the full color sensor.
Using Sigma's proprietary algorithm,
the Dual TRUE II processes vast
volumes of data at blazing speed,
generating crisp, high-definition
images, scrupulously rendered
with immersive spatial realism and
profuse color detail.
* TRUE: Three-layer Responsive Ultimate Engine
JPEG convenience with
the Sigma touch
When you want the convenience of
JPEG, the SD1 delivers print-ready
images finished to Sigma's own
high standards. For purposes of
connectivity, photo sharing, social
media, and other casual applications,
you may find that JPEG meets your
needs.
On the other hand, the compact file
size of JPEG depends on irreversible
“lossy” compression that leaves little
room for post-processing creativity.
When you want to explore the full
artistic potential of the SD1, simply
choose the RAW image format.
This preserves 100% of captured
information in all its 46-million-pixel
glory, ready for you to give free rein
to your creativity.
RAW mode reveals creative realms
Sigma believes that shooting
photos is just one stage of creating
photographs. The creative process
depends on carefully drawing out
the latent power of the raw image
to faithfully realize your vision in a
work of photographic art.
Sigma's .x3f RAW image format
files are your creative canvas. They
let you work with the full dynamic
range, broad color spectrum and
delicate gradations of shadow
and light that are gathered by
the full color capture system.
All the information recorded by
the amazing X3 sensor is at your
command.
Inspired by the virtually boundless
potential of SD1 RAW format data,
you embark on a voyage of artistic
discovery with the exhilarating
freedom to follow your creative
muse in any direction.
From image to masterpiece with
SIGMA Photo Pro 5.0
In SIGMA Photo Pro 5.0 you will find
precisely the functions you really
need — no more, no less — to finish
your photos with professionalism
and artistry. With its intuitive and
uncluttered interface, this digital
darkroom application is
unexcelled in RAW data
processing performance.
Even if you are new to
RAW file formats, you
will find it easy to use.
The redesigned
interface offers greater
functionality and
convenience to give
full expression to your
creative ideas and
bring out the awesome
potential of 46MP
images generated by
the SD1's X3 technology.
It also handles SD1
color mode setting data
which optimizes color
tone, contrast and other
adjustments for various
shooting conditions.
These settings can be
saved in
RAW data files.
For image correction, the
Adjustment Controls Palette offers
seven parameters: exposure,
contrast, shadows, highlights, color
saturation, sharpness, and the X3 Fill
Light feature. Together with the two
noise reduction parameters and
a color wheel, these controls
give you the artistic latitude and
precision to create the masterpieces
that express your artistic vision.
Masterpiece in the making.
Image quality that inspires creativity
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BODY
Magnesium body
The SD1 is the first in the SD series to
adopt a magnesium alloy body.
This rigid, tough yet lightweight body
securely protects the interior from
shock and electromagnetic interference,
while adding strength and durability to
withstand challenging conditions.
Weather and dust resistance
Controls and joints are sealed to block
dust and moisture from entering the card
slot, battery room and other parts of the
camera interior. This enhances reliability
in harsh professional usage situations.
DRIVE MODE
Two-motor system prevents vibration
Using a two-motor system with dedicated
motors for mirror-drive and shutter charge
reduces the vibration of mirror movement,
thereby preventing camera shake. A mirror
lock-up mechanism prevents further
vibration when the shutter is released.
Preventing camera shake is especially
important for macro photography and
when using ultra-telephoto lenses.
VIEWFINDER
Bright, wide-coverage viewfinder
with integral pentaprism
The SD1 features a pentaprism viewfinder
with 98% (vertical and horizontal)
Rugged new body. Unbending policy. Built like a true flagship
At Sigma, camera design has always
been guided by one principle: a camera is
a precision instrument that should respond
faithfully and directly to the photographer's
intention. The SD1 takes this to new
heights of perfection, offering even greater
possibilities of sophisticated, nuanced
expression, while serving the artist
as a career partner.
The SD1 is the first Sigma camera to have
a magnesium alloy body for rugged
durability and resistance to water and dust.
This represents a comprehensive approach
to maximizing camera performance,
just as the internal circuitry is optimized
for processing high-resolution data.
The redesigned user interface is
ergonomically engineered to provide
intuitive control with extended
operational convenience to help the
photographer concentrate on the
photographic task at hand.
More than any words or specifications, it is
only by taking the SD1 in your hands that you
can understand how this camera represents
the latest evolution of Sigma's dedication
to pushing digital camera design into new
dimensions of practical performance.
Redesigned for enhanced performance
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coverage, 0.95x magnification and
an 18mm eye point. Diopter adjustment is
provided over a range of -3 to +1.5 dpt.
AUTOFOCUS
Precise focus with 11-point twin cross sensor
The autofocus system features an 11-point
twin cross sensor. This shifted twin cross
type sensor improves AF accuracy.
Selecting the AF point can be done
manually or automatically.
77-segment AE sensor for accurate exposure
The SD1 features a new 77-segment AE sensor
using advanced AE algorithms to improve
exposure accuracy. Exact control coordinated
with the 11 AF points achieves accurate
exposure even in difficult lightning conditions.
MEMORY
Uses fast, high-capacity CF cards
The SD1 accepts
TYPE I CF cards.
UDMA mode6
compatibility
enables fast
processing of large
amounts of data.
*It is not possible
to use TYPE II
CF cards or
microdrives.
ISO
ISO100 - 6400;
Noiseless image processing
The SD1 captures light effectively and
ensures noiseless image processing.
The image sensor provides high definition
with rich, graduated tones.
EXPOSURE
Exposure management with
manual control and auto bracketing
Exposure can be manually adjusted to
suit your needs. When difficult lighting
conditions make appropriate exposure
unclear, auto bracketing lets you take
a sequence of shots of the same subject
at three or five different exposure levels.
Bracketing can be set in 1/3EV increments
up to +-3EV(3levels) or +-1.7EV(5 levels).
METERING
Flexible control over metering,
The SD1 features four metering modes
SPOT METERING
The camera will
measure the luminance
of 1% of the entire
picture area. This mode
is suitable when you
wish to set the exposure
for a small portion of the scene and ignore the
influence of the rest of the area.
77-SEGMENT
EVALUATIVE
METERING
Evaluative metering
is suitable for general
photography. Even in
strong back lighting situations, the camera will
give you the correct exposure.
CENTER
AREA
METERING
The camera will measure
the luminance of 10% of
the entire picture area.
This is ideal for metering backlit subjects.
CENTER
WEIGHTED
AVERAGE
METERING
The camera will measure
the average luminance
of the entire picture area with additional emphasis
on the center area. This is ideal when using
optional exposure compensation.
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