{"id":12086,"date":"2026-11-07T04:03:49","date_gmt":"2026-11-07T03:03:49","guid":{"rendered":"https:\/\/www.brokenmount.com\/bm\/2026\/11\/07\/a-deep-dive-into-the-sigma-fp2s-image-quality-finds-a-camera-thats-unconventional-to-its-core\/"},"modified":"2026-11-07T04:03:49","modified_gmt":"2026-11-07T03:03:49","slug":"a-deep-dive-into-the-sigma-fp2s-image-quality-finds-a-camera-thats-unconventional-to-its-core","status":"publish","type":"post","link":"https:\/\/www.brokenmount.com\/bm\/2026\/11\/07\/a-deep-dive-into-the-sigma-fp2s-image-quality-finds-a-camera-thats-unconventional-to-its-core\/","title":{"rendered":"A deep dive into the Sigma FP2\u2019s image quality finds a camera that\u2019s unconventional to its core"},"content":{"rendered":"
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\n\tLike the BF, the FP2 is a full-time HDR camera. We look at the costs and benefits of this decision.<\/p>\n

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Our rolling-shutter measurements of the Sigma FP2 didn\u2019t really present any surprises, but our real-world shooting and our studio test shots did: Sigma is doing some creative things to produce compelling photo output. We\u2019re not sure all of them are successful.<\/p>\n<\/div>\n<\/section>\n

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Sigma states that the base ISO of the FP2 is 320, rather than the ISO 100 that Nikon and Panasonic use for the same sensor. And in that one decision is a key clue about what\u2019s going on.<\/p>\n

The ISO settings on cameras refers to a JPEG-based standard; one that gives camera makers a lot of leeway in terms of how they choose to use their sensors, at the Raw level. For instance, the standard allows manufacturers to decide to give their sensors less exposure, by default, in order to capture more highlight information. When the ISO standard was changed in 2009, we saw many manufacturers make small adjustments to capture a little more highlight information, so that their JPEGs could give a more progressive highlight rolloff, in exchange for a slight noise cost that comes from using less exposure.<\/p>\n

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Sigma is making sure the camera captures enough highlight information to let it deliver true HDR images<\/p>\n<\/blockquote>\n<\/figure>\n

Sigma is going much further than this. Rather than adjusting exposure by a one- or two-thirds of a stop, it\u2019s rating its base ISO one and two thirds lower than Nikon or Panasonic are choosing to. And, as with the Sigma BF, the reason is much more than just giving a more progressive JPEG highlight rolloff: it\u2019s making sure the camera captures enough highlight information to let it deliver true HDR images, with more lifelike representation of bright highlights (when viewed on a device with a high-brightness screen).<\/p>\n<\/div>\n<\/section>\n

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Studio scene<\/h2>\n
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In terms of detail, the Sigma FP2 is a close match for both the Panasonic S9 and the Nikon Z6III<\/a>. The Nikon appears a little more detailed, but that may be more down to fractionally different focus or the different lenses we have to use. Though, because it has no anti-aliasing filter, the Sigma exhibits a little more moir\u00e9<\/a> in the smallest detail it can capture.<\/p>\n

Both the Nikon<\/a> and Panasonic<\/a> are more successful at presenting fine detail in their JPEGs, with the Panasonic doing a better job of doing so without tipping into looking over-sharpened. This 1:1 view isn\u2019t necessarily how many people will view 24MP images, though.<\/p>\n

In terms of noise<\/a>, the Sigma appears to be a close match for the Nikon, despite their differences in terms of exposure strategy (the Sigma is applying less gain at each ISO setting, but this is a dual conversion gain sensor that\u2019s essentially ISO invariant in its higher conversion gain mode, so this approach makes no meaningful difference). Where there is a difference is at base ISO<\/a>: because the FP2 has a base ISO of 320 and an Auto ISO system that defaults to ISO 400, it means the camera will try to use two stops less exposure than the Nikon when shooting in bright light. That\u2019s a decision that will limit peak image quality. Unless you choose to work around it.<\/p>\n<\/div>\n<\/section>\n

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HDR images<\/h2>\n

The FP2\u2019s images look pleasant enough when viewed as SDR but can be really impressive when viewed on an HDR-capable device. We found images with bright features such as neon lights, reflections in chrome and light glowing through petals or leaves are where its HDR output really shines. However, we also found that some subjects, such as light-skinned portraits, really didn\u2019t work well. It\u2019s one thing to describe<\/em> someone as looking \u2018radiant\u2019 or \u2018luminous\u2019, but the reality of photos in which the skintones glow, but freckles and other facial features don\u2019t, can be deeply unflattering.<\/p>\n

\"HDR<\/a>
Sigma FP2 w\/ Sigma 20-60mm F2.8-4 DG @ 21mm | F25 | 1\/50 sec | ISO 400<\/p>\n

The FP2\u2019s images are \u2018Ultra HDR JPEGs\u2019 (standard JPEGs with a brightness map to tell HDR devices which areas to display as extra bright). This is the reason the camera defaults to using ISO 400 and, viewed on an HDR-compatible display, gives a more lifelike rendering of things like light glowing through leaves.<\/figcaption>Richard Butler<\/span><\/figure>\n

There\u2019s no way to disengage the camera\u2019s HDR function, so you may find yourself choosing to flatten the images down to SDR on a case-by-case basis.<\/p>\n<\/div>\n<\/section>\n

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Exposure strategy<\/h2>\n

Looking at the Raw levels (and the 1.67EV higher-than-usual base ISO rating), we see that, from ISO 320 upwards, the Sigma\u2019s exposure\/gain configuration is set to capture around five stops of highlight information above middle grey, rather than the 3.3EV that Nikon has opted for, in the Z6III. This is entirely consistent with a camera whose images are trying to show up to 1.67EV of additional highlights beyond what a conventional SDR JPEG would include. As with the extended ISO settings on any camera, drop below base ISO and you clip highlights increasingly early. In this instance, ultimately dropping you back to the same 3.3EV of highlights as its peers, by the time you reach ISO 100.<\/p>\n

There is, inevitably, a noise cost to be paid for these lower exposures, so if you aren\u2019t after HDR output, it\u2019s worth considering manually adopting ISO 100 in bright conditions.<\/p>\n<\/div>\n<\/section>\n

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Ultimately, the FP2\u2019s full-time HDR approach is why the camera\u2019s Auto ISO system always chooses a higher ISO. The only remaining puzzle is: if base ISO is 320, which does Auto ISO favor ISO 400, instead?<\/p>\n

About the Author: <\/span>Richard graduated as a scientist but had a lot more fun writing and shooting for his university magazine. A number of years spent variously as a reporter, writer and editor on science and engineering titles combined his knowledge of science with his interest in images and words. But it was spotting the connections between emission spectra, white balance and all the nonsense he\u2019d taught himself playing around in Photoshop that helped kindle an interest in digital photography. Searching for a camera led to him discovering DPReview and Richard was recruited by Phil Askey in 2007. He\u2019s been combining his love of photography, communication and attention to detail (pedantry?) ever since.<\/p>\n

He has unusually strong opinions about lenses for the APS-C format.<\/p><\/div>\n

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