Sigma 210101 18-35mm F1.8 DC HSM Lens for Canon - Black

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The Sigma 18-35mm f/1.8 is astounding sharp at every setting. You just need to be sure it's in focus and nothing moves. Since Sigma reverse engineers (vs. licenses) manufacturer AF algorithms, there is always the possibility that a DSLR body might not support a (likely older) third party lens. Even though the diaphragm is round at large apertures, sunstars are quite good at moderate to small apertures. Bravo! Nikon 35mm f/1.8 DX for a fraction of the price. On Canon, the classic professional Canon 35mm f/1.4 L is a steal today, and a much better long-term investment than this consumer zoom. The lens does not feature image stabilization like some of its rivals (e.g. Canon 17-55 ƒ/2.8 IS USM), but the wide ƒ/1.8 aperture helps compensate for that allowing shutter speeds more than twice as fast in low light. The Sigma 18-35 has separate zoom and focusing rings, as well as marked focal lengths (18, 20, 24, 28, 35mm) and a focusing scale.

Another factor making the relatively short focal length range more palatable is the image quality this lens delivers. In the real world, this lens is too darn heavy for what it is —and it looks long enough to be a telephoto, marking you as a pervert in public. While you're making wide shots, others are going to presume you're using a telephoto lens for inappropriate purposes. As I gathered the gear, the stress level was being increased as my wife learned that I had left the hairy creature alive and unattended.

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Since 1982, PCMag has tested and rated thousands of products to help you make better buying decisions. See how we test. By the way, you may enable Movie Cropping and shoot “4K Crop” video with any lens, not just APS-C. I’m simply pointing out that — unlike still photos — 4K video on the R5 is higher quality than you may expect. No overheating in 4K Crop

The Sigma-35mm has a large, maximum aperture of f/1.8. This translates into a brighter image and less noise when used wide open. In terms of light gathering capabilities, the f/1.8 aperture is roughly equivalent to f/2.8 on a full frame lens. This makes the low-light performance of the Sigma similar to Canon’s excellent 24-70mm f/2.8 for less money. Zooming to 24mm improves sharpness. At f/1.8 the lens scores 2,470 lines, and it peaks at f/4 at 2,690 lines. At 28mm the lens manages 2,457 lines at f/1.8 and improves to 2,562 lines by f/4. Zooming all the way in to 35mm delivers 2,399 lines at f/1.8 and peaks at 2,528 lines at f/4. Edge performance when zoomed in a bit is consistently good; better than 1,800 lines at every tested focal length and aperture. I'd leave either a 72mm Nikon Clear (NC - UV) filter, a 72mm Hoya Alpha MC UV or bulletproof 72mm Hoya HD2 UV on the lens at all times. a sweet loaner car (my car was in the shop) and this lens needing a workout provided far more motivation than I needed to schedule a day trip to The Sigma 18-35mm f/1.8 DC has fantastic optics — but its mechanics and potential camera incompatibility are why you pay less for Sigma than for professional Nikon or Canon lenses.Distortion at both ends of the zoom is noticeable, but not overly strong with 2.71% barrel at 18mm and 1.06% pincushion at 35mm. The distortion pattern is uniform across the frame, so should be relatively straightforward to correct in image editing software afterwards. The Sigma 18-35mm f/1.8 DC HSM Art Lens' focal length range covers only a subset of my recommended range – equating to a 28.8-56mm angle of view on a full frame camera. This lens isn’t specifically built for macro, with maximum magnification of 0.23x and a minimum close-focusing distance of around 11 inches.

And that’s the confusing thing about “4K Crop” video on the R5, for when an APS-C lens like the Sigma is attached, it may appear the R5 is shooting in regular 4K because 4K HQ mode is disabled. But it’s not. Behind the scenes, with Movie Cropping enabled, the R5 is oversampling 5.1K when shooting 4K. A petal-shaped hood is supplied with this lens, which does a reasonable job of shielding the lens from extraneous light that may cause loss of contrast or flare. Even when shooting into the light, contrast remains good.Chromatic aberrations are remarkably well controlled for a zoom lens with such a bright maximum aperture. The strongest fringing can be found towards the edges of the frame at maximum aperture at 24mm, although the level of CA is still low enough to cause very few issues here. The Sigma 18-35mm f/1.8 is bulky, long, and weighs nearly two pounds (1 pound, 15 oz to be exact). This makes the lens somewhat cumbersome and heavy when shooting handheld on the R5. Requires an adapter Park Cameras Limited is a credit broker, not a lender and is authorised and regulated by the Financial Conduct Authority (FRN 720279). We do not charge you for credit broking services. We will introduce you exclusively to finance products provided by Duologi. Generally (and what I assumed by the original question) when referring to a mirrorless mount, we mean a mount with a very short flange distance that was not designed to accomodate a reflex mirror. The Sigma does quite well in controlling chromatic aberration. As expected, we saw more CA at the wide-angle focal lengths, but it drops significantly in both the corners and across the frame as you zoom to 35mm. At 18mm, the corners show two times more CA compared to the average across the frame(about one 600th of a percent of the frame height vs. a 300th), but as you zoom to the longer focal lengths, the difference between the corners and average shrinks appreciably.

With a minimum focusing distance of 28cm and a maximum magnification ratio of 1:4.3, this lens is excellent for close-up photography. The Sigma 18-35mm f/1.8 is an affordable lens with fantastic “Sigma Art” image quality, sharpness, and performance when shooting video on the Canon EOS R5. Its large aperture is well suited for shooting video in low light environments, its “35mm effective” 27-52mm focal length is just right, and you may capture high quality 4K video without overheating. It even works like a stabilizer due to its sheer weight and length that even with GH4 i could do 1/5 second SHARP handheld!! It is easy to overlook any focal length range deficiencies when getting an f/1.8 max aperture available over the entire focal length range.Full time manual focus can be applied by simply adjusting the focus ring at any time. Manual focusing is a pleasure as the focus ring is quite heavily damped, and very smooth to operate. Closest focusing is 30cm from the sensor plane, which is great for shooting in claustrophobic environments, although the maximum achievable magnification of 1:5.2 may make this lens less suited to frame filling close-ups of smaller objects. The Sigma 18-35mm ƒ/1.8 DC HSM "A" lens is a wide-angle to standard zoom lens designed for APS-C "crop"-sensor cameras. Part of Sigma's new "Art" series, it is the first zoom lens anywhere to feature a constant ƒ/1.8 aperture. This gives shooters the ability to not only photograph in much darker conditions but also produce a much shallower depth of field, compared to all other zoom lenses that only open up to ƒ/2.8 or smaller. This makes it especially noteworthy among its competitors. On the test charts and using the Datacolor SpyderLensCal, the 18-35 f/1.8 focused very accurately with excellent consistently. and what does "Contemporary" mean for a lens designation? Will it still be contemporary in 10 years? Are the "A" and "S" lenses not just as contemporary?).