Sigma has confronted a little bit of an uphill battle with the FE variations of their ART collection if the anecdotal suggestions I’ve acquired is a legitimate indicator of the market. Measurement issues, and the ART collection lenses have been already sometimes both the most important and heaviest of their class or near it…and that was on the bigger DSLR our bodies from Canon, Nikon, and (to a a lot lesser extent) Sigma. Sigma’s determination to retrofit numerous its ART collection lenses with new FE variations was one which I each applauded and criticized. I’m all for selection, and, since I personal a number of Sony cameras, I used to be glad for extra native choices there…although it’s debatable how “native” these retrofitted lenses are. They’re primarily modified variations of the DSLR lenses with a built-in adapter for Sony mirrorless. Sigma’s MC-11 lens converter is already my favourite lens adapter, and the Sigma ART collection in a Canon EF mount have been already the simplest and greatest lenses to adapt to Sony mirrorless our bodies, so Sigma took it a logical step ahead by primarily constructing a devoted adapter into every lens inside an extended housing to permit each the right “flange distance” (extra on that in a second) and for a extra full sealing of the lens (the MC-11 doesn’t function any weathersealing.) The ultimate designs are clear and practical, however with one critical caveat – the FE variations are each bigger and heavier than their DSLR counterparts.
Hardly the best course, contemplating that mirrorless our bodies are, by nature, smaller and lighter.
A few of it was unavoidable. The Sigma MC-11 doesn’t simply allow correct communication for a Sony physique to regulate the autofocus and aperture iris of a Canon EF lens, however it additionally strikes the weather the suitable distance from the sensor of the Sony system in order that, for instance, infinity focus is achievable. The shortage of a mirrorbox in a mirrorless digital camera signifies that the sensor is far nearer to the entrance opening of the lens mount. Should you look right into a Canon or Nikon DSLR (and carry the mirror), you’ll discover that the sensor is sort of deeply recessed from the lens mount. On a Canon EOS digital camera (EF mount), the flange distance (from the lens mount to the sensor) is 44mm. On a Sony E-mount mirrorless digital camera the flange distance is simply 18mm. Lens which are designed for E-mount will take that under consideration, however on this case the unique design is for that EF mount, so the weather are all within the incorrect place and must be moved away from the sensor to correctly align. The byproduct of that is that the lens housing should primarily embrace a spacer roughly the thickness of the MC-11 constructed into the lens, which is what we discover. The additional lens housing and electronics to adapt the lens mount add weight, and the byproduct is that each one of those ART collection lens are heavier by roughly 100g and develop in size by round 25mm.
Now some individuals don’t thoughts measurement and weight, and it’s for these those that I’m grateful for the FE variations of the ART collection, because the ART collection has all the time represented a robust worth whenever you look at the performance-to-price ratio. Sigma has not elevated the worth of the ART collection lenses on Sony FE, which is significant when one considers that there’s additional manufacturing these lenses together with elevated inner complexity. These lenses stay a robust worth when in comparison with competing lenses, and that’s notably true on Sony E-mount, which has each 1) fewer lenses in comparison with the DSLR market and a couple of) many Sony E-mount lenses are costlier than their DSLR counterparts. I feel it is sensible for Sigma to make this transfer, because it provides them an opportunity to leverage some optically wonderful lenses into a brand new system and thus increase the marketplace for them.
These lenses are usually not for everybody, nevertheless, and I feel it’s crucial for Sigma to reinforce these releases with some devoted lenses for Sony FE. I’ve reviewed all of their DN collection lenses for Sony APS-C E-mount, and have been impressed by numerous them (and personal a number of of them), so I do know that Sigma is able to doing so. It’s nonetheless very early within the improvement cycle for the model new Nikon Z-mount and Canon RF-mount techniques, so it stays to be seen whether or not or not Sigma, Tamron, and others will be capable of develop cross-platform lenses for these three techniques. Fascinating days are forward, although, I’m positive.
The Sigma 24mm f/1.four DG HSM | ART was, I consider, the one ART collection lens that I missed reviewing when it was initially launched. Prior to now few months Sigma has been releasing new variations of its ART collection in Sony FE (full body E-mount), so I assumed I assumed I might kill two birds with one stone by each reviewing a lens that I had missed and in addition increasing the pattern measurement of ART collection on FE lenses past the 50mm f/1.four ART Review on FE I did a number of months in the past. The 24mm focal size is clearly a very fashionable one, and mixing an amazing focal size with a fantastic most aperture of f/1.four actually expands the artistic alternatives. Sigma had this Sony FE market at this focal size and aperture worth to itself for a couple of brief months, however Sony has already thrown a little bit of a monkey wrench into the 24 ART’s market by saying the brand new 24mm f/1.four G Grasp lens. That comparability can be fascinating, for the brand new GM lenses prices 60% extra however the 24 ART weighs 73% extra. If my previous expertise bears true, the optical efficiency can be aggressive between the 2 lenses, with some give and take from them each. I’ll in all probability revisit this once I assessment the 24 GM lens sooner or later.
So if measurement and weight and never deal-breakers for you, this lens will certainly be fascinating in case you are in search of a excessive efficiency, big aperture prime lens at this focal size. Learn on to find the professionals and cons of Sigma’s providing.
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There are some minor modifications to the 24 ART within the new FE model that we’ll spotlight right here, however that is additionally an immediately acquainted lens to anybody who has used any of the Sigm ART collection lenses. You will get an in depth, interactive take a look at the lens on this video:
Sigma pioneered a singular fashion of its personal when it launched its International Imaginative and prescient look in 2013, and, whereas familiarity with the collection has eradicated any pleasure over the design language (this would be the 14th ART collection lens that I’ve reviewed plus a few of the Modern and Sport lenses that share comparable design philosophy), I nonetheless really feel like these are superbly and cleanly designed lenses. Sigma has cleverly employed texture variations slightly than shade variations into the design language that provides each fashion and practicality. The ART lenses just like the 24 ART have loads of “grippy” surfaces that make it straightforward to deal with and use the lenses.
The main target ring is broad, substantial, and straightforward to grip. Additionally, you will observe from the photograph that this lens differs from lenses purpose-designed for mirrorless (and the focus-by-wire guide focus techniques they use) by the inclusion of a distance window. I don’t thoughts this inclusion in any respect, although it’s value noting that mirrorless our bodies depend on distinction focus aids to assist allow correct guide focus (do you have to use it), and so there’s a good probability you gained’t truly use the main target window a lot. This lens doesn’t have a very lengthy focus throw – notably between 1m and infinity – so manually focusing is a little bit of a chore in that vary. Much more helpful to most individuals can be the truth that the a part of the body with the lively focus level will mechanically enlarge within the viewfinder or LCD when enter on the main target ring is detected. You continue to in all probability gained’t use the MF ring quite a bit, however this can be a very helpful facet of Sony mirrorless.
Of unquestioned usefulness is the AF/MF change on the lens barrel, which is one thing that many E-mount lenses should not have. I all the time welcome it, because it provides you a “shortcut” to creating that change with out counting on altering focus modes inside the digital camera.
The lens comes with an included lens hood and padded case for the lens, that are all the time welcome. The lens hood is petal-shaped, and one spotlight for me on Sigma ART collection lens hoods is the soft-touch transition space the place the hood mounts onto the lens. The lens hood itself is pretty normal plastics, whereas the lens physique is a mix of metals and what Sigma calls “thermo-composite materials”, or high-grade engineered plastics. The byproduct is strong, engaging, and…heavy.
Not in an absolute sense, because the 24 ART is definitely one of many lighter lenses within the ART collection. The Canon model weighs in at 1.46lb (665g), however this FE model provides on a little bit of weight. Sigma has confirmed a bit coy concerning the weight and size of the FE variations of the lens up to now, with most retailers (and their very own web site) solely itemizing the dimensions and weight of the Canon/Nikon/Sigma variations for the FE listings, as if they’re all one and the identical.
I needed to put the lens alone scale, however, with out caps, I weighed it in at 768g, or 103grams heavier than the EF model. If there’s any comfort, it’s that the MC-11/EF combo weighs 24g extra (the MC-11 weighs 127g), so you’ve technically saved a little bit of weight. The incoming Sony 24mm f/1.four ART weighs 15.7oz (445g), which signifies that the FE model of the 24 ART is a few 73% heavier.
The lens additionally grows a good bit in size, from about three.55″ (90.2mm) to about four three/four″ (126mm) by my measurement. In the event you look contained in the rear of the lens, you’ll principally see a good quantity of area earlier than the rear component. The edges of the internal barrel are ribbed, and I think that there are electronics beneath them that perform equally to these within the MC-11 besides tuned for this particular lens. I’ve famous not just some enhancements within the high quality of focus of the FE variations of the lenses vs tailored Sigma EF lenses but in addition improved smoothness within the operation of issues just like the aperture iris. When utilizing tailored lenses you get some additional noise when the aperture is being modified, and I’ve even seen somewhat quirky conduct there prior to now. With the FE variations aperture modifications are clean and silent…as they need to be.
Whereas the 24 ART has not acquired any type of in depth redesign to enhance inner sealing, Sigma has added a rubber gasket to the lens mount to assist enhance mud and moisture resistance. This isn’t an alternative to true climate sealing, however it’s definitely higher than nothing!
The unique diameter of three.35″ (85mm) stays unchanged. The ensuing lens is on the bigger aspect of medium, and fairly a bit bigger than the GM lens (which is pretty shut in measurement to the Canon EF model of the 24 ART). It’s nonetheless a reasonably sized lens, although, and I didn’t have a tough time with the stability on my Sony a7R3 that I used for a check, although it ought to be famous that I make the most of the Small Rig grip-extension on my a7R3 which does assist to stability bigger lenses. Up entrance there’s 77mm filter thread, which is giant however widespread. Right here is one intrinsic benefit over the 20mm f/1.four ART, which has a bulbous entrance aspect and can’t settle for conventional screw on filters.
Like different Sigma ART lenses, the 24 ART is eligible for Sigma’s mount conversion service in the event you change digital camera methods sooner or later, and, when you can’t use the FE variations of the lenses on the USB dock, you possibly can obtain firmware updates by downloading them from the Sigma web site and operating the replace by way of the digital camera physique.
All informed, that is a beautiful, trendy, well-made lens that, in contrast to many competing lenses, is definitely made in Japan. The one actual criticism is the dimensions and weight, which undoubtedly hit the excessive finish of the spectrum of lenses on this class on the Sony mirrorless platform.
The numerous problem for Sigma is that these ART collection lenses weren’t initially designed with Sony in thoughts. I do consider that Sigma has grow to be extra acutely aware of the increasing position of tailored lenses on Sony mirrorless since their market share has grown, however that wasn’t as true when the sooner ART lenses (together with the 24 ART) have been being developed. Moreover, my expertise has been that the poorest adapting expertise of the ART collection has been with the broader angle lenses. Most of the regular and brief telephoto choices adapt to a near-native efficiency, however for some cause the broader angle lenses have a number of extra glitches.
That brings us to some great benefits of the FE model. The primary is that whereas the MC-11 typically does a superb job with tailored lenses, it’s one gadget that should multitask for quite a lot of totally different focus wants. The 24 ART, like different ART lenses in an FE mount, has devoted hardware design to bridge the hole for that particular lens from the unique focus system to the distinctive wants and benefits of Sony’s hybrid AF system. And, with a couple of exceptions that I’ll element in a second, it does fairly an excellent job of doing so.
There are some intrinsic benefits to Sony mirrorless focus. To begin with, the necessity for focus calibration is eradicated. It’s a deal with to mount a brand new lens on the digital camera and never fear about whether or not or not it’s going to focus precisely. The necessity for the USB dock is eradicated, and I’ve seen one of the best autofocus efficiency out of Sigma lenses on Sony our bodies that I’ve ever seen. Focus is usually correct in all kinds of focus conditions. The lens absolutely helps Sony-specific attributes like Eye-AF. And, when focus is nailed, the lens is able to some spectacular outcomes as this photograph at f/1.four and its crop present:
Sadly I did expertise some occasional glitches the place the main target would precisely lock (as I might visually affirm by means of the viewfinder), however inexplicably would shift away once I clicked the shutter button. Take a look at these two photographs. The main target level was set in the identical place for each pictures, however within the first picture the lens shifted away focus on the final second to, properly, nothing. Nothing is precisely in focus. Within the second picture I redid focus and acquired correct outcomes (on the moss-covered department).
I had a number of different events the place one thing comparable occurred, and some of those have been much more shocking as they have been at smaller aperture values like f/5.6 and f/eight the place nailing focus ought to be very straightforward. The lens simply didn’t get focus proper typically, which frankly is fairly uncommon on Sony mirrorless.
I feel that is in all probability a solvable drawback by way of a firmware replace, however I did need to report that it did occur now and again, although not often. More often than not I obtained excellent focus outcomes, even at f/1.four:
You could have observed that a few of these photographs exhibit the power of the 24 ART to focus down very intently (9.84″/25cm). This enables for a reasonably strong 1:5.three copy ratio, or a zero.19x most magnification. That’s a helpful determine, and I actually recognize the best way that the shut focus capacity of the lens will increase the pliability of the kind of photographs that you could create with the lens.
In AF-C mode the lens focuses silently and shortly. In AF-S or single shot modes the autofocus continues to be quiet, however you’ll be able to hear the weather slide alongside a bit of with main focus modifications. I don’t know why you don’t hear this with steady autofocus, however I’ve noticed this beforehand with different lenses, too. All focus modes can be found, and aside from the glitches I’ve beforehand described, the autofocus efficiency could be very very similar to a local FE lens.
There’s room for enchancment, clearly, however for probably the most half this lens does what I might need it do when it comes to autofocus. It’s definitely leaps and bounds forward of many different extensive angle lenses that I’ve tried to adapt to make use of on Sony.
Right here is the place the rubber meets the street, in my thoughts. When an organization like Sigma elects to utterly abandon the thought of constructing a compact lens, their lenses should stand solely on their optical efficiency. And, in reality, that’s largely what Sigma has efficiently carried out. Many individuals affiliate the ART model with optical excellence. Is that true of the 24 ART, notably since it’s (by a good margin) the most important choice of its focal size within the Sony system? We’ll discover that on this part, as the reply is somewhat, properly, nuanced. It ought to be famous that optical components of the FE model of the lens is equivalent to Canon EF or Nikon F mount lenses, so in case you are contemplating the lens in these mounts my observations can be equally relevant.
My protection of picture high quality falls into two classes: 1) Decision, the place I cowl sharpness and distinction and a couple of) Rendering, which seems to be on the international look of photographs in areas like shade rendition, bokeh, flare resistance, chromatic aberration, and so on… I might advocate that you simply watch the next video episode the place I interactively breakdown the optical efficiency of the 24 ART intimately:
Sigma 24 ART Decision
It must be famous that the 24 ART is absolutely supported by Sony’s in digital camera corrections, however I’ll be analyzing the uncorrected RAW photographs on this part to truly see the optical efficiency. All the check photographs are taken on a 42MP Sony a7R3 digital camera physique, which is a reasonably demanding platform for lens efficiency because of the excessive decision. Issues like distortion and vignette can be corrected in-camera for JPEGS. As we will see from the comparability under, nevertheless, there’s some delicate distortion (a tiny bit which stays after the Lightroom/ACR profile is utilized) and a few pretty heavy vignette (shut to 3 stops within the excessive corners). The utilized profile clears up the vignette properly.
A take a look at the decision and distinction exhibits an impressively sharp middle at f/1.four with pretty good distinction, however the edge efficiency is sort of mushy by comparability. The acute corners are worse but.
A take a look at each side of the body concurrently exhibits that the left aspect seems to be higher than the correct aspect. This might point out some decentering, although the 24 ART does endure from some pretty excessive subject curvature which prioritizes a really sharp middle on the expense of the sting efficiency.
Working example is that this shot, which exhibits a picture composed with the topic close to the sting. Even when targeted there, the picture isn’t notably sharp because the crop exhibits.
When the topic is nearer the middle, nevertheless, the picture could be very sharp even at f/1.four:
In case your photographer fashion consists of composing inside the middle 2/3rds of the body, this can be a very sharp lens. If edge sharpness is a precedence, nevertheless, this gained’t be the lens for you.
Shifting on to F2 we discover that the sting sharpness improves solely a bit in comparison with F1.four:
There’s some enchancment within the middle, nevertheless, specific in improved distinction (on account of some minor longitudinal chromatic aberration clearing up). Ranges there at the moment are distinctive, the place they continue to be by means of the aperture vary:
We begin to see some vital enchancment to edge efficiency at F2.eight (the middle is now good):
Optimum edge efficiency (panorama aperture) arrives at F5.6, the place lastly the sting efficiency begins to extra intently match the middle efficiency, although the sides are by no means fairly as sharp as the middle at any aperture:
However there’s yet one more unusual phenomenon right here. Large open we observed that the left aspect appeared a lot better than the best aspect. However because the lens is stopped down and the best aspect improves, the left aspect has not sharpened on the similar fee. It now appears softer than the best aspect (at F5.6).
The truth is, as I critically reviewed numerous real-world pictures, I discovered that I primarily by no means acquired equal sharpness throughout the body. One aspect would all the time be sharper than the opposite, although that aspect may change relying on the place focus was. I’m left to conclude that this lens has some centering points, which different reviewers have additionally reported up to now. In case your precedence is capturing landscapes there are in all probability higher decisions. Once I in contrast the diminutive (however costly!) Loxia 21mm f/2.eight Distagon, I famous that it was the sharper lens (and extra even) choice for panorama work.
That’s to not say that you would be able to’t get lovely panorama outcomes from this lens (I received quite a lot of them), however once I pixel peep them I understand that I’ve undoubtedly achieved higher outcomes with different lenses at typical panorama apertures. Listed here are a couple of panorama samples that I feel look fairly nice in an absolute sense:
I might say that the goal marketplace for this lens is extra wedding ceremony or occasion shooters who want a robust middle efficiency at F1.four.
Sigma 24 ART Rendering
We’ve checked out distortion and vignette beforehand, however how about shade rendition, flare resistance, bokeh, and coma? A few of these measurements are subjective, so partially you might have to belief my expertise with all kinds of lenses.
Working example is the colour rendition from the 24 ART. After capturing with it for some time, I started to get a way that the colours have been somewhat flatter than what I used to be accustomed to. I felt like I wanted to inject slightly extra vibrancy into pictures in submit than I used to be accustomed to. I did a couple of comparisons to the Zeiss Loxia 21mm f/2.eight that I had available, however, to be truthful, the variations weren’t as pronounced as I anticipated. The colours have been a bit of extra correct from the Zeiss lens (see the grass and sky), and the vibrancy within the yellows was just a little higher, however I think most individuals will take a look at this instance and marvel what I’m speaking about.
On the similar time, on a elementary, instinctual degree, I most popular the colour rendering from the Loxia photographs that I took in comparable conditions. On the similar time, like most lenses, once you begin to get a way of how they deal with shade, you can also make some minor changes in submit to supply colour that you simply actually like. Right here’s a picture that I feel the colour appears nice on:
I did do a number of additional steps in submit to pump up that end result, although. Right here’s one other that I did little or no to and I feel appears good, although:
I’m much less ambivalent concerning the flare resistance, nevertheless, which I contemplate to be fairly good. The third picture within the collection under is concerning the worst prevalence that I noticed, and it confirmed that the lens is a bit more vulnerable from aspect flaring than straight on shiny lights.
Whereas a 24mm lens isn’t a main “bokeh-maker”, the 24mm isn’t dangerous. It could focus down intently and has that massive most aperture, so there are a shocking quantity of alternatives to create bokeh with the lens. The primary instance under was truly shot with the lens stopped down, and in addition exhibits that Sigma has accomplished a very good job with the aperture form remaining spherical with the lens stopped down.
I didn’t discover chromatic aberrations being a big difficulty (both lateral or longitudinal). The very minor quantity of inexperienced fringing on this shot represents worse-case state of affairs throughout my check, and it was very delicate.
Comatic aberrations (or coma) are one other story, nevertheless. Whereas the lens is able to sucking in numerous mild at f/1.four (all the time nice for astro work!), it suffers from a good bit of coma at each aperture in need of f/2.eight, and there are higher choices at f/2.eight. Even at comparatively brief publicity occasions (10 seconds within the shot under), I had a problem with stars “stretching” or turning into just a little extra like dashes than factors. I shot one other lens on the similar time with an analogous focal size, so it wasn’t a problem with star motion. It was extra of a distortion.
I noticed an analogous outcome once I did a assessment of the 24-35mm f/2 ART zoom lens, so it have to be a “Sigma thing”. The brand new 14-24mm f/2.eight ART lens is vastly improved on this regard, and was the primary Sigma lens that I wholeheartedly embraced for astrophotography. The 24 ART left me a bit of underwhelmed even at f/2.eight, as star factors have been nonetheless not as crisply outlined as what I would really like.
In conclusion, the lens has some some wonderful strengths, together with nice middle sharpness, low distortion, good flare and chromatic aberration management, together with fairly good bokeh (focal size however).
That is countered by considerably poor nook efficiency at broad apertures, uneven centering, and poor coma efficiency. I don’t assume that any of this stuff are deal-breakers, however I feel the individuals that may most respect this lens are people who do weddings, occasions, or reportage greater than those that shoot landscapes or night time skies. Use the lens to its strengths and I feel it should reward you. Take a look at many extra photographs within the Picture Gallery right here.
Sarcastically my time spent with the Sigma 24mm f/1.four ART made me understand how far the Sigma ART collection has come up to now three years. They’ve improved so most of the weak areas of this lens and different earlier ART collection lenses, from AF efficiency to paint rendition to coma management. I do assume that the Sigma 24 ART has a task for each DSLR shooters and Sony mirrorless shooters, however the lens is actually a collection of compromises. On Sony, you’re compromising measurement and weight to get a extra affordable worth in comparison with the Sony 24mm f/1.four GM lens. Optically you’re compromising edge efficiency to get nice middle efficiency. I additionally famous a couple of focus glitches right here and there together with a centering concern. This lens stays a robust worth for these on the lookout for this focal size to make use of at weddings, for portraits, and different occasions, however neither is it a house run as a multipurpose lens or devoted panorama choice. For those who go for it, achieve this with an intent to make use of it its strengths, and I feel you may be proud of it. However in case you are a Sony shooter in search of mild and compact, you will have to look elsewhere.
- Gives a robust worth of worth to efficiency
- Very robust middle sharpness from f/1.four
- Good flare and chromatic aberration management
- Pretty low distortion
- Helps all Sony focus modes and Eye AF works fantastic
- Properly constructed
- Edge efficiency lags far behind middle efficiency
- Some occasional focus glitches
- Subject curvature and a few centering points
- Poor coma management
- Bigger and heavier than competing lenses
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