Sigma FP2 review: modular camera’s capabilities expand to fill more niches

Sigma talks about preserving all the things that made the original fp special, but trying to improve every aspect. Specifically, a camera that’s designed to be as small as possible, with an equal weight given to stills and video so that it can adapt to either.

Key specifications

• 24MP partially stacked CMOS sensor
• Up to 20fps stills
• Video up to 6K open gate, including ProRes RAW output to SSD
• Two USB-C sockets
• Full-sized HDMI port
• Tilt up/down 3.2″ 2.1M dot rear LCD
• Optional 5.76M dot electronic viewfinder
• Optional OM System/Panasonic compatible hotshoe
• 70GB internal memory
• Larger, 16Wh battery, giving 370 shots/charge rating
• 460g (16.2oz) including battery and card

The Sigma FP2 will be available from November 11th at a price of $2199, body only, or $2749 with the new EVF-21 accessory or $2749 with the I-series 50mm F2 DG lens.

Index:

• What’s new
• How it compares
• Body and handling
• Video
• Image quality
• Autofocus
• Initial impressions
• In use
• Conclusion
• Sample gallery
• Specifications

What’s new

Despite the very familiar appearance, the FP2 has been almost entirely redesigned. It has a bigger battery and a tilt up/down screen and yet manages to be smaller than its predecessor. There are a host of improvements in the optional accessories, too (this should still be seen as a modular camera). But perhaps the most significant update it the sensor.

Partially stacked CMOS sensor

The FP2 is built around a 24.5MP partially stacked CMOS sensor. That is to say: it’s a BSI sensor with more complex readout circuitry applied at the edges of the chip, allowing faster readout without the cost and complexity of a fully stacked design with additional layers of circuitry behind the full area of the sensor. It’s reasonable to assume this will be comparable with the sensors in Nikon’s Z6III and Panasonic’s S1II models.

This faster sensor not only boosts the camera’s video capabilities but also reduces rolling shutter in its still images /because, like Sigma’s other full-frame cameras, the FP2 relies entirely on electronic shutter modes. The new sensor still only promises a flash sync speed of up to 1/50th of a second, but this is nearly twice as fast as its predecessor was capable of in its fastest, 12-bit readout mode.

The faster sensor, along with the development that went into the BF means faster, more advanced autofocus than the previous fp, including bird recognition, for the first time. This improved AF is combined with shooting at up to 20fps, which the FP2 can sustain for up to 200 JPEG frames or 180 DNG Raws. Drop to 8fps and these numbers leap to 630 DNGs or 3000 JPEGs.

We’ll cover the changes to the camera’s body in the body and handling section of the review, but another significant area of change for the FP2 is in the optional accessories that can be added to the camera.

New accessories

EVF-21 add-on viewfinder: the FP2’s optional viewfinder is not only much higher resolution than the one for the original fp models (it uses a 5.76M dot OLED panel, giving 1600 x 1200px resolution), it’s also somewhat more convenient to use. Rather than connecting to both the USB and HDMI sockets, the new unit just connects to the upper of the camera’s two USB-C connectors (though it ends up blocking the 7-pin interface, even though it doesn’t use it). It also includes an eye sensor to let the camera auto-switch between using the viewfinder and the rear screen, a switch to control this behavior and an adjustable diopter, under the rubber eye-piece.

HU-21 add-on hotshoe: the new hotshoe adapter is an improvement in a number of ways, over the version for the fp. The first is that it is fully compatible with the flash protocol shared by OM System and Panasonic, as can be used by third-party flashes from the likes of Godox, that work with that system. But more than this, it can also be used with Panasonic’s hotshoe mics (eg DMW-DMS1) and DMW-XLR2 adapter or Tascam’s XLR adapter. If you use the Panasonic accessory, the camera is able to record 32-bit Float audio, into the camera.

There’s also the LVF-21: a large hood and loupe ‘viewfinder’ that slots onto the back of the camera. This is a different model from the one used with the original fp models but, as you might expect, only works when the screen is flat to the back of the camera.

The FP2 works with both the HG-11 hand grip designed for the original cameras and the SH-11 screw-in strapholder lugs.

How it compares

Its modular approach means that the Sigma FP2 doesn’t have any direct competitors or, at least, any to which it can be easily compared, as most rivals tend to have more complete intrinsic feature sets, rather than being designed to expand and adapt. In many cases, if your needs exactly dovetail with the features of a camera a major manufacturer has decided to make, then that will be the most cost-effective option. Especially as Sigma is a small-scale manufacturer in comparison to some of the electronics giants it’s up against. But it’s in situations where your needs haven’t been precisely anticipated by one of the big camera makers that the FP2 becomes an interesting option.

We’re comparing the FP2 to Panasonic’s small, low-cost, vlogging-focused S9. It uses a slower 24MP sensor and has in-body stabilization, but no option to add a viewfinder or shoot flash. Nor does it have the ability to use Panasonic’s 32-bit float / XLR accessories, which the Sigma can, if you add the hotshoe accessory. We’re also comparing the FP2 with the Nikon ZR, a higher-end video camera than the Panasonic. It’s 40% larger than the Sigma but, like the Panasonic, is stabilized. It has a built-in hotshoe and manages to sync with a flash one third of a stop faster than the Sigma, despite being based on the same sensor.

Once you start considering the Nikon ZR, Canon’s very good EOS R6 V also comes into play, but it’s 50% heavier and at least twice the size of the Sigma, making it quite a different prospect.

The elephant in the video studio is the FP2’s lack of stabilization which, combined with its lack of front-facing screen pretty much rules it out for vlogging. But turn to more formal video, shot from a gimbal or sticks, and the Sigma suddenly becomes very competitive. Its Raw video isn’t as size-optimized as Nikon’s R3D NE but Pro Res RAW is an industry standard format. Its full-sized HDMI port makes it better suited to use with an external recorder or monitor and it offers a series of features, such as open gate shooting and desqueezed preview that the Nikon isn’t getting until some time in 2027.

The S9 is the better camera for handheld shooting and vlogging but the Sigma offers a Raw option and some very competitive high-res output. It can also support 4-channel audio and 32-bit float (the latter, ironically, through the use of Panasonic accessories that the S9 doesn’t support). And, of course, its more modern sensor halves the rolling shutter, making it much more usable in modes such as open gate.

For stills

We’ve mainly focused on its competitors with comparable sensors and no mechanical shutters, which has meant video-first cameras. And that absence puts the FP2 at a disadvantage as a stills camera, as its modular approach doesn’t extend to you being able to add one.

That said, the FP2 is the smallest full-frame mirrorless on the market and a well-built one, at that (you do feel you’re getting a high-quality product, for your money). Its improved autofocus and flip-out screen, along with the much larger battery, make it a big step forward for photographers, compared with the original fp. If size is important to you, the FP2 is a strong contender and has the option to add a grip or viewfinder when needed (and to remove them, when not). We also think it’s significantly nicer to use, for stills, than the S9. 

The relatively sparse selection of stabilized lenses in the L-mount system, combined with its lack of in-body stabilization holds it back as an everyday all-rounder. And, unsurprisingly, the bigger camera makers have addressed those needs very effectively. But, paired with small primes that have less need for stabilization and play better with its compact ethos, the Sigma delivers the most image quality available in a camera this size. And we don’t doubt there will be photographers willing to work with its limitations to gain those capabilities.

Body and handling

Like the fp models, the FP2 is probably best thought of as a modular camera: the body itself is home to a fully-functional camera, but one that will make most sense when accessories such as hand grips, viewfinder modules, flash hotshoes or external SSDs are added.

As such, the camera itself remains very small, with only a handful of external controls. There are power and stills/cine switches on the top plate, along with a large command dial that encircles the shutter button. There’s also a dedicated movie REC button. The body is made from aluminium and has a sense of significant solidity to it. It feels dense in the hand, as befits a camera whose every internal space is packed with components.

On the back are the same series of buttons as the original fp models: a customizable AEL button, QS quick menu button, a four-way dial with central button and a main Menu button below it.

Ranged along the bottom of the screen are Playback, Display, Color and exposure Mode buttons. The Color button replaces the Tone button from the previous version and selects from a reworked list of color modes.

The FP2 gains three color modes (Rich, Calm, 709 Look) from the BF, but sees the total number of color modes drop from the 16 of its predcessor to 13. Sigma says it’s narrowed it down to most “usable” options. These color modes have the same fine-tune parameters as the BF.

Ports and connectivity

Where things get really interesting is on the side of the camera. The FP2 gains a full-sized HDMI port, rather than the more delicate Micro HDMI socket on the original. It also gains a seven-pin accessory interface, through which the new flash/audio hotshoe adapter attaches.

Next to these are twin USB-C sockets, which can perform a range of roles, depending on how you plan to use the camera. In common with several recent cameras, one socket runs at USB 2.0 speeds, but can also be used for providing power to the camera, or as a headphone or mic connector, or to use Sigma’s CR-51 cable release. This upper port is also how the new EV-21 viewfinder attaches to the camera.

The lower socket is a 10Gbps USB 3.2 Gen 2 port, to which you can attach an SSD for recording files to, or for fast file transfers. But this too can be used to power/charge the camera, or as a headphone or mic connector, or for the CR51 USB cable release if the upper socket is already in use for something else. The lower socket can also be used for plug-and-play UVC/UAC connections. This flexibility helps the FP2 deliver a lot of different combinations for a host of different photo or video approaches.

There’s also a 3.5mm mic socket that can be used with plug-in power mics (mics powered by the camera but that don’t need as much energy as phantom power mics) or to deliver a timecode signal into the camera in environments where it needs to be perfectly synced.

Battery

The FP2 uses a new BP-91 battery that looks very similar to, and is cross-compatible with, Panasonic’s BLK-22 units. This means 16Wh, rather than the 8.6Wh of the BP-51 used in the original fp models. This helps power the camera to a much more useful 370 shots per charge, rather than the 280 offered by the fp. This is a big step forward for applications such as travel photography, and makes it all the more impressive that the new camera is smaller and only slightly heavier than its predecessor.

Video

The faster sensor in the FP2 allows it to shoot at higher resolutions and framerates than its predecessor, including full sensor, 6K “open gate” capture at up to 30p, with 16:9 and 1.89:1 capture at up to 60p. This includes the option to output ProRes RAW (in standard or HQ compression) at up to 6K/30. 4K taken from this 6K capture can be recorded at up to 60p from the full area of the sensor, or at up to 120p with a 1.57x crop. The camera also offers 16:9 “2K” at up to 120p.

In the 6K and 4K modes you get a choice of 3:2 open gate capture, a 4:3 capture, cropped-in horizontally, for use with anamorphic lenses, or full-width 16:9 and 1.89:1 footage, ready for output.

Unlike the original fp, which could either output Cinema DNG raw to an SSD or capture 8-bit footage internally, the FP2 can now record 10-bit footage internally, with the option to use Leica’s L-Log profile. Sigma says the intention is to devote 7EV of the camera’s DR to the highlights in Log and Raw modes, making everything below ISO 1250 an ‘extended’ setting.

ProRes RAW can only be written to an external SSD because the camera’s bit rates are up to 5800Mbps (725MB/s) in HQ mode and 3900Mbps (488MB/s) in standard, far outstripping what its UHS-II card slot (and many users’ hard drives) can cope with. For the 4K modes, the ProRes RAW numbers drop to a much more reasonable ~1060Mbps in HQ mode and ~720Mbps for standard mode, for 24p footage.

Rolling shutter

We measured the readout rate for both the 6K and 4K open gate modes and found them to be the same in 6K/30 as at 4K/60 and 4K/30. We also found the 6K open gate Raw output matched this 11.1ms rate. This suggests the 4K open gate footage is derived from the 6K capture, which implies the sensor can be read fast enough for 6K/60 open gate, but that it’s not feasible, for reasons of power consumption, heat generation or processor load, to capture it.

Dropping to the 16:9 modes, the FP2 consistently delivers a 9.4ms readout time, whether you shoot 6K or 4K, 60p or 30p, compressed, processed footage or Raw. 9.4ms for the 16:9 region of the sensor equates to exactly the same 11.1ms for the whole sensor height. It’s the exact same speed we measured when we tested the Nikon ZR.

Audio options

In terms of audio, you can use either USB socket for audio monitoring (or via HDMI, if you have an external monitor or recorder attached). USB can also be used for attaching a second mic input, giving you four-channel audio recording. Alternatively, adding the hotshoe adapter lets you connect Panasonic audio accessories, including the DMW-DMS1 mic or DMW-XLR2 adapter, both of which allow 32-bit float recording.

Directors viewfinder mode

The FP2 expands the number of professional video cameras the camera can mimic in its “Directors viewfinder” mode. This includes a variety of Red, Arri and Sony models, with the FP2 mimicking the framing and aspect ratios that those cameras would give, in a range of their shooting modes, giving the director a preview when planning a shot. Adaptors from the FP2’s L-mount to use either EF or PL-mount lenses also mean that you can preview (and capture previews) using the optics you’ll use for the final shot.

Image quality

The Sigma FP2 has a base ISO of 320: one and two thirds stops higher than the Nikon Z6III and Panasonic DC-S1II that share its sensor. This is because the FP2 is deliberately using lower exposures in order to capture additional highlight information so that it can deliver HDR JPEG images with significantly extended highlights. As with the Sigma BF, the JPEGs will work as normal on all SDR devices but can show more lifelike bright regions when viewed on an HDR-capable device.

Studio scene

Our test scene is designed to simulate a variety of textures, colors, and detail types you’ll encounter in the real world. It also has two illumination modes, full even light and low directional light, to see the effect of different lighting conditions.

In terms of detail, the Sigma FP2 is a close match for both the Panasonic S9 and the Nikon Z6III. 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 moiré in the smallest detail it can capture.

Both the Nikon and Panasonic 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’t necessarily how many people will view 24MP images, though.

In terms of noise, 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’s 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: 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’s a decision that will limit peak image quality. Unless you choose to work around it.

HDR images

The FP2’s 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’t work well. It’s one thing to describe someone as looking ‘radiant’ or ‘luminous’, but the reality of photos in which the skintones glow, but freckles and other facial features don’t, can be deeply unflattering.

There’s no way to disengage the camera’s HDR function, so you may find yourself choosing to flatten the images down to SDR on a case-by-case basis.

Exposure strategy

Looking at the Raw levels (and the 1.67EV higher-than-usual base ISO rating), we see that, from ISO 320 upwards, the Sigma’s 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.

There is, inevitably, a noise cost to be paid for these lower exposures, so if you aren’t after HDR output, it’s worth considering manually adopting ISO 100 in bright conditions.

Autofocus

The FP2’s autofocus system is both simple and effective. It offers six AF target sizes from a small square up to the entire scene. You can position the target either using the four-way controller on the back of the screen, and with the choice of whether you’re selecting from a 7 x 7 grid of positions, arrayed across the central 42% of the frame, or a more freehand 45 x 27 array, extending across the whole screen (the former is quicker if you’re using the four-way pad to select).

The camera gives you a choice between single AF acquisition (AF S), continuous AF acquisition (AF C) and Tracking AF. Distinct from this, you can choose whether the camera tries to identify humans, animals (including birds) or both. These only work in conjunction with Tracking AF mode, and you need your AF target to be positioned over a recognized subject for the camera to track it. This means that you can comfortably leave human detection turned on and not worry about the camera getting distracted when you’re trying to focus on non-human subjects.

Overall we were surprised by how quick and reliable the AF system is. We wouldn’t be surprised to hear there’s been some input from Panasonic, but the way the Sigma system operates is quicker and simpler. There’s an AF Tracking Retention parameter to adjust how sticky the system is, but we didn’t find we needed to change it for any of our shooting.

Deeper into the options, you can set a software focus limiter when using compatible lenses, and you can also control the virtual ‘gearing’ of the manual focus rings, to adjust the focus throw and change the ring’s function on lenses with by-wire control. Focus peaking and the ability to AF while viewing a magnified preview are likely to be helpful for video shooters. You can’t punch-in while recording video, though.

Initial impressions

Sigma’s CEO and owner, Kazuto Yamaki has consistently expressed his disappointment that the original fp was primarily interpreted as a cinema camera. Whether it was because of the large Cine/Stills switch on the top, drawing attention to its video capabilities or just that the video community is more familiar with the concept of rigging up a camera with different accessories, the misunderstanding set in early.

With this in mind, it’ll be interesting to see how the FP2 is received. The newer, faster sensor should improve its performance as a stills camera, and the option to add a high-res viewfinder or flash hotshoe that operates with a widely-used flash standard both improve its utility as a stills camera. That 1/50 second rolling shutter rate will continue to limit the range of photography the FP2 can turn its hand to, but its status as the smallest full-frame camera, along with the much larger battery is likely to (deservedly) broaden its appeal.

That said, it’s easy to imagine video users embracing the FP2 just as keenly as before, given how extensive the improvements on that side of the top-plate switch are. ProRes RAW, the use of a pre-existing log profile in 10-bit, plus a full-sized HDMI port all represent big steps forward. The lack of a headphone socket may seem like an odd omission, but the ability to use either USB socket for headphones mitigates that.

That could perhaps be read as the perfect example of the FP2’s modular concept: it doesn’t have every possible port that video users might want, and it doesn’t necessarily include every feature that stills shooters might want, but those dual, multi-purpose USB-C sockets mean that it can be expanded and adapted to better suit itself to a range of different needs.

It’s also interesting to see how much Sigma has been able to work with its L-mount partners, in the development of the FP2. The camera is built around the same sensor as the Panasonic S1II and, despite re-badging, the same battery, too. Similarly, there’s the adoption of the flash prototcol used by Panasonic and OM System. But the FP2 also leans on Leica, both for the L-mount around which its based but also the L-Log profile, meaning that Sigma doesn’t have to develop its own LUTs and ecosystem around the FP2, for it to be immediately usable.

The original fp was a really interesting camera: a stills/video camera pared back to its very core, with the option to adapt it to your needs. The faster sensor in the FP2, along with a remarkable list of shared technologies and feature enhancements make for a much more polished result: a camera that better lives up to its clever concept.

In-use

With its minimal, modular concept, it shouldn’t come as a surprise that, out-of-the-box, the FP2 isn’t particularly optimized for any specific application. That’s certainly apparent on the stills side of things, if you try to use the camera body bare. A textured rubber patch extends a few millimeters onto the front of the camera, giving some purchase, in conjunction with a small thumb rest on the rear, but for use with a larger lens or any extended period of shooting, most photographers are likely to want to add some sort of extension grip.

The small body also means the FP2 doesn’t have room for thumb and forefinger dials near the top plate, with it instead using a rear-plate dial as its second command dial. It’s quite a large ring, raised up from the back of the camera and with sufficient tactile ribbing around its edge to turn it with precision. It’s also easily reached from the thumb rest position, making it one of the better examples of this layout. It’s much more like the large, rear-face dials on Canon DSLRs than the tiny fiddly dials on compact cameras, and neither invokes concerns of knuckle dislocation nor results in annoying imprecision.

The dials are also used to navigate both the main menus and the (user-customizable) QS quick menu. This takes some getting used to after so many years of touch-menu capability: with its eight large icons, seems like it would be ideal for touch selection of different parameters, and yet even here you have to use the dials.

Generally, the camera is quick and pleasant to operate as a stills camera. The tilt-up screen greatly increases the flexibility of such a small camera, particularly one that isn’t necessarily going to be used with a viewfinder. The optional viewfinder is excellent: very large and very bright, though still not displaying the HDR aspect of the FP2 images, either in capture or playback mode. The ability to tilt the finder up, and shoot from above the camera definitely adds some utility to the EVF module, as does the option to detach it, when not needed, but it adds significant size and bulk to the camera when attached, which is likely to limit its appeal every bit as much as its price tag.

Overall, the FP2 is frequently nicer to use than many cameras its size, and can be improved with your choice of accessories, but personally I preferred the control logic of the BF, as a stills shooter.

Video users, especially those mounting the FP2 on a gimbal, may actually appreciate the absence of a hand grip, as it avoids unnecessary bulk, making the camera easier to balance, and also giving more flexibility when mounting other components around it on a rig.

Those users are likely to feel the lack of touch controls even more acutely, as it becomes even more awkward to operate both dials quickly when the camera is in the middle of a rig. It’s also easy to end up losing the tilting display in amongst your added accessories, especially if you’re going the traditional route of mounting a battery directly behind the camera, or using a shoulder rig. This adds another reason to use an external monitor, making you reliant on its assistance tools, rather than the ones built into the camera.

However, off the rig, the FP2’s menus are relatively easy to use, and its interface offers most of the tools most videographers will need to nail exposure and get a workable preview of their footage, even for less common workflows such as the use of anamorphic lenses.

The biggest lesson our video experience taught us was the importance of planning your setup before the shoot. Perhaps even before you buy the camera. What are you planning to use the two USB ports for? How do you intend to monitor audio? Can the accessories I want to use fit next to one another?

Conclusion

The Sigma is the smallest possible box into which you can fit a really good sensor, a decently sized battery and not much more. If you want or need something with the most image quality possible from the smallest box, this is it. If you’re someone who looks at the FP2 and thinks “that would be perfect if they just added…” and then lists the features that would effectively turn it into a Sony a7C II, Panasonic S1II, Nikon Z6III or other mainstream camera, you’ve missed the point. You should probably look at those models instead.

It’s a beautifully built, high quality but unusual option, with the flexibility to accommodate a very nice, very flexible (albeit rather expensive) viewfinder. It’s now compatible with a common flash system, has a surprisingly competitive autofocus system and the added convenience of a tilting rear screen. We were also surprised not to encounter difficulties with artificial lighting.

The lack of mechanical shutter means it more readily makes a case for itself on the video side of things. The flexibility of its ports, video options and codecs mean it’s a very impressive video tool for anyone looking to work on a gimbal, tripod or shoulder rig: competing remarkably well with Nikon and Canon’s rivals in this space, but again letting you add only what you need for your preferred setup.

But, while its appeal will be narrower, there is a case to be made for it as a stills camera, primarily if size is of paramount importance to you. Whether that’s trying to keep it with you at all times, or wanting to have to carry as little as possible to a time-lapse spot, the Sigma is the easiest way to bring full-frame image quality with you. You can have a top-down viewfinder if you want one, or just on the days you need it.

Paired with small primes, the absence of image stabilization isn’t necessarily as much as a limitation as you might expect, but we’d definitely recommend adding a hand grip for both stability and comfort, cutting away at its size advantage, somewhat.

The original fp was a fascinating series of ideas that didn’t quite add up to a coherent camera, for many applications. The FP2 combines improved technology and a higher degree of polish to deliver something much more capable, for a wider range of circumstances. Still with things to work around, still knowingly niche, but with much greater appeal to every one of the niches it can fit itself into. Primarily in terms of its performance as a video camera, it earns our Silver award.

Scoring:

The Sigma FP2 is unusually hard to score, as our scoring system is based around the features and performance inherent to the camera, whereas the FP2 is designed to be used with a series of accessories. As such the scoring somewhat under-represents the FP2’s capability.

9.8 out of 10

8.3 out of 10

9.3 out of 10

8.9 out of 10

9.0 out of 10

8.5 out of 10

8.9 out of 10

8.8 out of 10

8.5 out of 10

9.5 out of 10

8.0 out of 10

9.1 out of 10

Show all scores

Overall score

89%

Scores reflect competition at the time of release; cross-year comparisons may be misleading

Expert summary

The Sigma FP2 is the smallest full-frame interchangeble lens camera in the world. You’ll probably need to add accessories to tailor it to your needs but, especially on the video side, it’s surprisingly polished and capable.

Good for:

Video users working with gimbals and sticks. Obsessively space-conscious photographers

Not so good for:

Everyday, all-round use. Operating as a standalone camera.

Reviewed on 2 hours ago

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Sigma FP2 specifications

89%

DPR Score

RANGEFINDER-STYLE MIRRORLESS

Body Type

36 × 24 mm

Sensor size

LEICA L

Lens Mount

24.5 MEGAPIXELS

Effective pixels

BSI-CMOS

Sensor type