Sigma’s Middle-Child 35 мм Prime
35mm F1.4 DG DN Art – один из трех беззеркальных объективов Sigma по фокусному расстоянию. Он находится между 35mm F2 DG DN Contemporary (639 долларов) и 35mm F1.2 DG DN Art (1499 долларов) по размеру, диафрагме и положению на рынке.
(Фото: Джим Фишер)
Объектив большого размера для простого, но хорошо сочетается с полнокадровой камерой Sony a7R IV, которую мы использовали для тестирования объектива. Он имеет размеры 4,4 на 3,0 дюйма (HD), вес 1,4 фунта и поддерживает передние фильтры 67 мм. Это более легкий объектив, который можно носить с собой по сравнению с Sigma 35mm F1.2 (5,4 на 3,5 дюйма, 2,4 фунта), и он немного крупнее, чем Sony FE 35mm F1.4 GM за 1400 долларов (3,8 на 3,0 дюйма, 1,2 фунта).
Это более качественный объектив, чем у настоящих бюджетных брендов, и вы не потратите намного больше, чтобы получить его по сравнению с таким, как Rokinon 35mm F1.4 AF. В отличие от Rokinon, Sigma включает в себя защиту от пыли и брызг, поэтому вы можете без проблем вынимать объектив в ненастную погоду. Передний элемент имеет защитное покрытие от пятен, которое позволяет легко вытирать капли воды и случайные отпечатки пальцев. Ствол представляет собой смесь металла и поликарбоната.
(Фото: Джим Фишер)
В комплект входит бленда из поликарбоната. Он хорошо спроектирован, оснащен системой блокировки кнопок, чтобы удерживать его на месте, и его можно переворачивать для хранения. В комплект входят также передняя и задняя крышки.
На самом объективе есть несколько управляющих поверхностей, помимо стандартного кольца ручной фокусировки. Объектив включает в себя тумблер для переключения между ручным режимом и режимом автофокусировки, кольцо диафрагмы с поддержкой щелчков до третьей ступени или бесшумной работы и настраиваемую функциональную кнопку.
Sony a7R IV, f / 1.4, 1/200 секунды, ISO 100 (Фото: Джим Фишер)
Автофокус работает быстро и бесшумно, но объектив показывает видимый эффект дыхания, изменение угла обзора при настройке фокуса. Это то, о чем следует беспокоиться, если вы используете объектив для видео, особенно для снимков, где фокусировка перемещается от одной точки фокусировки к другой, но это не является практической проблемой для фотографов.
Реакция ручной фокусировки нелинейна, что я ценю в фотографии, но это не очень хорошо для видео. Медленное вращение кольца обеспечивает точную настройку фокусировки, а более быстрое действие резко смещает точку фокусировки. Для неподвижных изображений может пригодиться гибкий отклик, но для большинства видеоработ предпочтительнее линейный отклик с изменением фокуса в зависимости от того, насколько сильно вы поворачиваете кольцо управления, а не от того, насколько быстро.
Sony a7R IV, f / 1.4, 1/320 секунды, ISO 100 (Фото: Джим Фишер)
При фокусировке с близкого расстояния изображение становится немного плотнее, обеспечивая увеличение 1: 5,4 при ближайшем расстоянии фокусировки 11,8 дюйма. Он находится в одном ряду с некоторыми прямыми конкурентами – Sigma 35mm F2 Contemporary и F1.2 Art почти соответствуют ему и доступны как для камер с байонетом E, так и с L-байонетом.
Если вы используете камеру Sony, вы можете взглянуть на высококачественную Sony FE 35mm F1.4 GM для более близкого фокусирования, до 9,8 дюймов для результатов 1: 3,8. Покупатели с ограниченным бюджетом могут выбрать Tamron 35mm F2.8, доступный только с байонетом E – он дает макрорезультаты 1: 2 и стоит около 200 долларов.
Image Quality
Bokeh
The bokeh this lens creates is what we have come to expect from Sigma. It isn’t perfectly round or uniform. This is more apparent with lights, which take on more of a football shape. The 35mm f1.4 Art lens creates a creamy background as the perfect stark contrast for your subject. I even found the bokeh to be pleasing when stopping down to f2.8.
Sharpness
The Sigma 35mm f1.4 lens is wonderfully sharp. When shooting wide open, there is plenty of sharpness and detail in the middle that gradually fades toward softer edges. Wider apertures strike an excellent chord for shooting portraits with this lens. This lens hits a home run at f5.6 where almost everything is razor-sharp with the softest fade away at the corner edges.
Lens Character
Sigma has created a machine in a sense. In doing so, they have managed to extinguish most imperfections with the 35mm f1.4 Art lens. Are you looking for sun flare? Forget about it. I had to work really hard to get a nominal amount of sun flare. In fact, the rare cyan highlight fringing is barely discernible. Most aberrations, flares, and imperfections have been removed. Any hopes I had that it may edge on the contrasty side were in vain. The lens very accurately depicts the scene without any extra pizzazz. In their efforts to create a perfect mirrorless 35mm for both cinematographers and photographers, they removed much of the art. If you are looking for a lens with character akin to the inaugural Art series, this isn’t the lens for you.
Night photographers and cinematographers will appreciate the lack of light flares, however. Lens distortion is on par with most 35mm lenses on the market. It can be played up or down, depending on angle and distance, and easily removed if you don’t want it. There is a small amount of vignetting that is easily corrected in post. Flatly lit scenes do benefit from the vignette. Contrast is minimal and falls in every level of the zone system. Even the most technically perfect images feel flat, a little lackluster, and in some cases, a bit boring.
Over the years, I’ve developed a workflow that requires basic editing. I’ve been spoiled getting to shoot with the simulations Leica and Fujifilm offer. I’d rather spend time shooting than sitting in front of my computer. I would need a lot more production and professional lighting on the front end to achieve the look I desire. If post-processing is your jam, you will love the creative opportunities this lens presents you.
Color Rendering
The Sigma 35mm f1.4 Art lens creates a scene with beautiful color. It provides a touch more saturation in more contrasty scenes without feeling fake. I particularly enjoy the greens provided by this lens and camera body combo. In flat light, I was left feeling underwhelmed.
Focusing
The Sigma 35mm f/1.4 DG DN Art Lens utilizes a stepping motor for AF.
This lens internally focuses very quietly.
The focus speed is relatively fast, though Sony cameras’ normal defocusing prior to focusing increases lock time significantly in AF-S (single shot) mode.
The review lens tends to focus slightly behind the subject, indicating minor calibration required.
FTM (Full Time Manual) focusing is supported in Sony’s DMF (Direct Manual Focus) mode with the shutter release half-pressed or the AF-ON button pressed.
Sigma provides a customizable AF hold button on this lens.
While in continuous focus mode, this button can be pressed to lock focus at the currently selected focus distance, facilitating a focus and recompose technique.
This button also acts as a custom button (C5) and can be programmed to another function using the camera’s menu.
Normal is for the scene to change size in the frame as the focus is pulled from one extent to the other, referred to as focus breathing, a change in focal length resulting from a change in focus distance.
Focus breathing negatively impacts photographers intending to use focus stacking techniques, videographers pulling focus, and anyone very critically framing while adjusting focus.
Far |
Close
This lens shows a big change in subject size as full extent focus adjustments are made.
The rubber-coated, sharp-ribbed focus ring is large in size and, being raised slightly from the lens barrel behind it, is easy to find.
This ring rotates very smoothly, has an optimal amount of resistance, imparts change with reasonable smoothness, and the long 990° of slow rotation MF adjusts focusing at a rate that facilitates precise manual focusing even at close distances.
Turn the ring fast to go the full extent range in about 190° of rotation
This lens has an AF/MF switch, a feature that is going missing on many modern lenses and one that I appreciate greatly.
With a minimum focus distance of 11.8″ (300mm), this lens has a 0.19x maximum magnification spec., a mid-level number that is in line with its peers, of which there are many.
| Model | MFD | MM | |
| Canon EF 35mm f/1.4L II USM Lens | 11.0″ | (280mm) | 0.21x |
| Canon RF 35mm F1.8 IS STM Macro Lens | 6.7″ | (170mm) | 0.50x |
| Canon EF 35mm f/2 IS USM Lens | 9.4″ | (240mm) | 0.24x |
| Nikon 35mm f/1.4G AF-S Lens | 11.8″ | (300mm) | 0.20x |
| Nikon Z 35mm f/1.8 S Lens | 9.8″ | (250mm) | 0.19x |
| Nikon 35mm f/1.8G AF-S Lens | 9.8″ | (250mm) | 0.16x |
| Sigma 35mm f/1.2 DG DN Art Lens | 11.8″ | (300mm) | 0.19x |
| Sigma 35mm f/1.4 DG DN Art Lens | 11.8″ | (300mm) | 0.19x |
| Sigma 35mm f/1.4 DG HSM Art Lens | 11.8″ | (300mm) | 0.19x |
| Sigma 35mm f/2 DG DN Contemporary Lens | 10.6″ | (270mm) | 0.18x |
| Sony FE 24mm f/1.4 GM Lens | 9.4″ | (240mm) | 0.17x |
| Sony FE 35mm f/1.4 GM Lens | 9.8″ | (250mm) | 0.26x |
| Sony FE 35mm f/1.4 ZA Lens | 11.8″ | (300mm) | 0.18x |
| Sony FE 35mm f/1.8 Lens | 8.7″ | (220mm) | 0.24x |
| Sony FE 35mm f/2.8 ZA Lens | 13.8″ | (350mm) | 0.12x |
| Tamron 35mm f/1.4 Di USD Lens | 11.8″ | (300mm) | 0.20x |
| Tamron 35mm f/1.8 Di VC USD Lens | 7.9″ | (200mm) | 0.40x |
| Tamron 35mm f/2.8 Di III OSD Lens | 5.9″ | (149mm) | 0.50x |
| Zeiss 35mm f/1.4 Milvus Lens | 11.8″ | (300mm) | 0.22x |
| Zeiss 35mm f/2 Milvus Lens | 11.8″ | (300mm) | 0.19x |
A subject measuring approximately 6.2 x 4.1″ (157 x 105mm) fills a full-frame imaging sensor at this lens’s minimum focus distance.
Need a shorter minimum focus distance and higher magnification?
Mount an extension tube behind this lens to significantly decrease and increase those respective numbers.
Extension tubes are hollow lens barrels that shift a lens farther from the camera, allowing shorter focusing distances at the expense of long-distance focusing.
Electronic connections in extension tubes permit the lens and camera to communicate and otherwise function as normal.
As of review time, Sony does not publish extension tube specs, nor do they manufacture these items, but third-party Sony compatible extension tubes are available.
This lens is not compatible with Sigma or Sony teleconverters.
Handling
Distance scale on Sigma 35mm 1.4 Art
Unlike other native AF lenses for E-mount the Sigma lenses (except for the APS-C lenses and the 70mm 2.8 macro) feature a physical distance scale and a direct coupling of focus ring and internal mechanics.
To me this is good news, as coupled with the nice resistance of the focus ring this gives a nice manual focus experience, only the rather short focus throw of 90° spoils the game slightly.
The lens further features an AF/MF switch but no other button and no aperture ring.
Sigma 35mm 1.4 Art with hood attached
A bayonet type lens hood is also part of the package. For transport it can be mounted reversed.
Compared to the Sony FE 35mm 1.4 ZA this Sigma lens is 8mm longer and 110g heavier. As both lenses are big and heavy to begin with I barely noticed this difference in the field.I greatly prefer working with the Sigma due to AF/MF switch and linear manual focus though, but I would still prefer a GM lens with an added aperture ring and focus hold button.
Image Quality
I’ve tested the Sigma 35mm with a pair of cameras, the 20MP Canon EOS 6D ($1,699.00 at Amazon) and the 50MP Canon EOS 5DS R ($3,899.00 at Buydig) . With the 6D, which has a sensor resolution in line with most current full-frame SLRs, the lens manages a very strong 2,438 lines per picture height on the center-weighted Imatest evaluation. That’s better than the 1,800 lines we want to see at a minimum from a lens when paired with a sensor in the 18 to 24MP range. It increases slightly as you stop down, peaking at 2,625 lines at f/5.6—that’s about as much resolution as you can hope for from the 6D.
When paired with the 50MP 5DS R, results aren’t quite as outstanding. At f/1.4 the lens shows 2,567 lines, which is better than the 2,220 lines we want to see at a minimum from a high-resolution system. But it’s a bit shy of what the pricier Canon EF 35mm f/1.4L II USM ($1,999.00 at Amazon) scores at the same aperture with the same camera body—3,448 lines. If you’re shooting with a 5DS R you’re likely in want of resolution above all, and will find it worth it to pay for the Canon lens.
That’s not to say the Sigma is a poor performer when paired with a high-resolution sensor. Its center is extremely sharp at f/1.4, although as you move away (to the middle and outer third of the frame) the resolution dips to about 2,100 lines, which appears slightly soft.
Narrowing the aperture to f/2 improves overall score to 3,100 lines, with strong performance in the middle and edges of the frame (2,400 lines). There’s further improvement at f/2.8 (3,226 lines), f/4 (3,809 lines), and f/5.6 (4,386 lines). Diffraction sets in at f/8 with the 5DS R sensor, cutting the resolution a bit, but still managing a superb 3,985-line score. It’s more of an issue at f/11 (3,630 lines) and f/16 (2,966 lines).
Canon isn’t the only camera maker out there with a high-resolution sensor, of course. Both the Nikon D810 ($1,599.00 at Amazon) and Pentax K-1 ($1,599.00 at Amazon) sport 36MP imagers, and the upcoming Sony Alpha 99 II pushes the envelope to 42MP. Results from different cameras aren’t direclty comparable, but you can get a ballpark idea from looking at test numbers from one system to another.
I recommend the Sigma 35mm Art over the Nikon AF-S Nikkor 35mm f/1.4G ($1,696.95 at Amazon) , which underperforms when you consider its price. The closest lens to the Sigma in the Pentax world is the SMC FA 31mm Limited ($1,096.99 at Amazon) , an f/1.8 prime that isn’t the Sigma’s optical equal, but has a distinct look and charm of its own. Sony sells a 35mm f/1.4G ($1,499.99) for the Alpha 99 II, but we haven’t tested it. It’s an older lens with a screw-drive focus system, and others who have evaluated it state that it’s on the soft side, which makes the Sigma sound like a better option.
Sharpness isn’t the only aspect of lens performance that’s important, of course. The Sigma 35mm shows about 1.6 percent barrel distortion, typical for a lens of its type. It’s a mild effect that you’ll likely notice in architectural shots or images with a clear horizon line, and is easily removed using a lens profile or the distortion correction tool available in Lightroom ($9.99/Month at Adobe) .
The Sigma 35mm does show a strong vignette effect, dimming corners and edges at wide apertures. Image corners lag behind the center by -5.7EV at f/1.4, a deficit that’s cut to -3.2EV at f/2, -1.5EV at f/2.8, and -1EV at f/4. At narrower apertures it’s not noticeable in field conditions. As with distortion, you can brighten corners and edges in Lightroom. The pricier Canon EF 35mm f/1.4L II USM shows about the same amount of the vignette effect. The best fast 35mm we’ve seen in controlling it is the Tamron SP 35mm, which shows just -1.4EV at f/1.8. But the Tamron has more of a tendency to exhibit chromatic abberation, in the form of purple color fringing, which both the Sigma and Canon lenses avoid.
optical vignetting
Very fast lenses often show optical vignetting. Without going too much into technical details mechanical vignetting leads to the truncation of light circles towards the borders of the frame.
In the center of the frame almost every lens will render a perfect circle, but only lenses with very low optical vignetting will keep this shape in the corners.
So in the following comparison we move from the center (left) to the extreme corner (right) and see how the shape of the light circle changes.
I did not shoot the lenses side by side, but was using roughly the same focus distance for both.As you can see the Sigma 35mm 1.4 Art and the Sony FE 35mm 1.4 ZA perform very similar in this category down to the obvious onion ring structures.
Build Quality
Sigma has done a great job of providing weather sealing for this lens. The 35mm f1.4 Art lens boasts a magnesium alloy design with rubber elements and a lens coating that weathers the storm. One area that still has room for improvement is at the lens mount. Sigma has made a significant improvement to the fit. However, it is not immune to sensor dust. I had minimal dust towards the end of my time with the lens permanently attached. I didn’t have the opportunity to experience how this lens handles in the rain. Therefore, I opted to photograph in my lawn with the sprinkler on. I did not experience any performance issues.
Image quality
Since the launch of its Global Vision program in 2012, Sigma has built a reputation for great image quality. Every Global Vision lens is individually checked for optical defects on a custom-made, in-house testing rig, and that coupled with excellent optical designs has seen some of its lenses outperforming even first-party glass. In most respects, the Sigma 35mm F1.4 DG DN doesn’t disappoint either, with only a couple of minor concerns and very impressive sharpness even when shooting wide-open.
Sharpness
| ISO 100 | 1/1600 sec | F4 | Panasonic S1RPhoto by Dan Bracaglia |
When focused in the center of the frame, the Sigma 35mm F1.4 delivers great detail and even the corners are only very slightly softer wide open. There’s a slight haze to the image, or loss of contrast, wide open, but stopping down just slightly to F2.8 is sufficient to get a beautifully sharp image across the whole frame. Peak sharpness is reached by F4.
Alternatively, focusing in the corner does help slightly if that’s where you most need sharpness and you prefer to shoot wide-open rather than stopping down a little. Put another way, any edge softness that you see wide open in brick wall shots focused at the center is likely irrelevant if you use a modern mirrorless system and place your AF point at the precise location of your off-center subject.
Bokeh
The 35mm F1.4 DG DN’s 11-bladed aperture yields nicely-rounded bokeh not just wide-open, but even as you stop down to F4. And that bokeh is very clean, as well, with no visible onion ring or soap bubble effects. Sigma has come a long way in ensuring that bokeh that does not appear busy even at the macro level in recent designs, and it shows; viewing the image in its entirety below, the out-of-focus background appears pleasingly smooth.
| ISO 100 | 1/160 sec | F1.4 | Sony a7R IVPhoto by Jordan Drake |
Cat’s eye effect is an issue, though, yielding football-shaped (or for non-Americans, rugby ball-shaped) bokeh, and not just in the corners but almost to the center of the frame at F1.4.
Stopping down helps, but cat’s eye is always a factor with this lens. Depending on your tastes and subject matter, it can either lend a dynamic look to your images or you may feel that it’s busy and distracting.
| ISO 200 | 1/1600 sec | F1.4 | Sony a7R IVPhoto by Jordan Drake |
Flare, ghosting and sunstars
Sigma includes an upgraded plastic, petal-style lens hood in the bundle with its new 35mm F1.4, and it features both a very nice, partly rubberized barrel and a more secure button-locked bayonet attachment.
| ISO 100 | 1/25 sec | F16 | Sony a7R IVPhoto by Chris Niccolls |
Lens flare is very well controlled, but with the sun in or near the frame, you can nevertheless get quite a bit of ghosting. Sunstars are quite well defined when stopped down, providing a nice effect so long as you can live with the ghosting that comes hand-in-hand with them.
Longitudinal chromatic aberration (fringing)
| Click or tap through to see just a bit of fringing on the chainlink fence on the center-left portion of the frame. ISO 100 | 1/8000 sec | F1.4 | Sony a7R IVPhoto by Chris Niccolls |
The 35mm F1.4 DG DN Art is prone to a little bit of longitudinal chromatic aberration, also known as LoCA, although this is common for most lenses of this type (and its performance is far better than the original 2012-era 35mm F1.4 Art lens for D/SLR). Where it appears, LoCA presents as magenta fringing in front of the focus plane, and green fringing behind it, and these colored fringes can be tricky to get rid of in post-processing.
Conclusion
| What we like | What we don’t |
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Given that the Sigma 35mm F1.4 DG DN Art is available on two competing lens mounts, our final thoughts depend to some extent on which mount you’re shooting with.
Of course its image quality, AF performance, handling and build are essentially identical on both mounts, but the competition on each mount differs, and E-mount shooters have access to Sony’s truly excellent 35mm F1.4 G Master lens, albeit at a higher price-tag than Sigma’s rival.
| ISO 100 | 1/160 sec | F2.8 | Panasonic S1RPhoto by Dan Bracaglia |
Both E-mount and L-mount versions of the Sigma 35mm F1.4 are very sharp lenses, and in most respects can deliver great image quality even when shooting wide-open. Although there are issues with ghosting and cat’s eye, in many situations you’ll be able to work around these.
And while it’s perhaps a tad front-heavy on smaller bodies, handling is otherwise excellent. We’re fans of the lockable aperture ring, silky-smooth focus ring and rubberized, lockable lens hood in particular.
| ISO 100 | 1/160 sec | F8 | Panasonic S5Photo by Barney Britton |
A bigger concern is the Sigma’s modest autofocus performance, especially when compared to Sony’s very swift-focusing G Master lens if you’re an E-mount shooter. And videographers will also want to bear in mind its significant focus breathing, although that’s also an issue for the Sony lens to a somewhat lesser extent.
If you’re an L-mount shooter, the Sigma 35mm F1.4 represents a very nice option for achieving a shallow depth-of-field and overall good image quality while staying on a reasonable budget. The Sigma 35mm F1.2 DG DN is also worthy of consideration, but you’ll have to spend a lot more and work out your biceps for the benefits it can bring.
| ISO 100 | 1/4000 sec | F2 | Panasonic S1RPhoto by Dan Bracaglia |
But for E-mount shooters, we think the Sony 35mm F1.4 GM represents an even better option thanks to its smaller, lighter body, faster AF, lack of ghosting and lesser cat’s eye and fringing; if you can stomach the substantially higher price.
If it’s simply beyond your budget, though, there’s certainly plenty to like in the crisp results delivered by the Sigma, even when shooting wide-open.
DPReview TV review
See what our team at DPReview TV has to say about the Sigma 35mm F1.4 DG DN Art.
Аббревиатура и технические характеристики
In the Lab
I paired the 35mm F1.4 DG DN Art with the 60MP Sony a7R IV for testing, and used Imatest software to check its resolution. It delivers good performance wide open (around 3,600 lines) on the a7R IV’s demanding sensor. Resolution ticks up quickly, though. It’s very good at f/2 (4,000 lines) and excellent at f/2.8 (4,600 lines).
Sony a7R IV, f/1.4, 1/1,250-second, ISO 100 (Photo: Jim Fisher)
Edges lag behind the center at bright f-stops, but you’ll enjoy crisp edge-to-edge results from f/4 through f/11, where the lens shows resolution just shy of outstanding (4,950 lines). Digital systems lose resolution at very small f-stops, and we see an expected loss of contrast at f/16 (4,000 lines).
Wide aperture resolution lags behind some other lenses we’ve tested on the 60MP a7R IV sensor. Sony’s FE 35mm F1.4 GM is a better fit for a high-resolution camera body; it delivers slightly clearer results wide open and stopped down. I wouldn’t put too much thought into it for 24MP cameras, though—the character differences between the Sigma and Sony 35mm F1.4 primes are more apparent than any difference in clarity.
Sony a7R IV, f/1.4, 1/320-second, ISO 100 (Photo: Jim Fisher)
The F1.4 prime blurs backgrounds with ease when shot wide open, and for many photographers the look of the blur (the bokeh) is an important aspect of imaging. The Sigma 35mm Art renders backgrounds with soft, pleasing defocus when used at bigger f-stops. Defocused highlights take on a distinct cat’s eye shape with the aperture at f/1.4 as you look away from the center of the frame. Rounded blades form circles at f/2, even at the corners. It’s a good look, the only real slight being that the Sony FE 35mm F1.4 GM does a bit better at rounding out oblong highlights.
(Photo: Jim Fisher)
Without correction, images show a little bit of barrel distortion, as well as a modest vignette at f/1.4 and f/2. If you use your camera in JPG mode, you’ll enjoy effective, automatic compensation for both (as long as you don’t turn it off). If you use Raw capture you can apply adjustments yourself, or rely on a lens profile. Adobe Lightroom Classic has one for the lens already.
Price, Value, Wrap Up
Priced well below the Sony GM alternative yet competing strongly from optical and build quality standpoints, the Sigma 35mm f/1.4 DG DN Art Lens is a great value.
The «DG» refers to full-frame camera compatibility, and the «DN» indicates that this lens was designed for short flange mirrorless cameras.
The Sigma 35mm f/1.4 DG DN Art Lens is compatible with all Sony E-mount cameras, including APS-C sensor format models, and it is also available in the Leica L mount.
Made in Japan, each Art lens is tested with Sigma’s proprietary MTF measuring system, ensuring a quality product.
In regards to the Sony E-mount version of this lens, Sigma develops, manufactures, and sells lenses based on the specifications of E-mount, disclosed by Sony Corporation under license agreement.
Sigma provides a limited 1-year warranty, and Sigma USA provides a limited 3-year warranty extension.
The reviewed Sigma 35mm f/1.4 DG DN Art Lens was online-retail sourced.
