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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