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

Product Information

The lens is available for both Canon and Nikon cameras, but there are two different versions of this lens (one for each brand and mount) so it is important that you ask for and choose the right version when bying the lens.

Sigma 18-35mm f/1.8 ART review: best Canon R5 video lens? Sigma 18-35mm f/1.8 ART review: best Canon R5 video lens?

Crop” video is higher quality than regular 4K, which is what you get when 4K HQ mode and Movie Cropping are both set to “Disable” (see below). 4K HQ mode disabled on the Canon EOS R5 Got this lens mainly for M4/3 system adaptation with Viltrox ef-m2ii speedbooster with panasonic GH4, G7 and Gx80. The lens functions much like a native lens including the manual focus override. As good as the Sigma 18-35mm f/1.8 may be for video on the R5, it does come with a few downsides to be aware of. Size and weight We also see well-controlled vignetting with the Sigma 18-35mm lens. While there is still some vignetting at apertures wider than ƒ/4, it's not extreme and the amount of vignetting is consistent across all focal lengths. At all focal lengths, there's about a half to just shy of two-thirds of a stop of light loss. Vignetting decreases notably when you hit ƒ/2.8 with less than or equal to a fourth of a stop of light loss. When stopped down to ƒ/4 and beyond, vignetting at all focal lengths is barely noticeable. Lateral chromatic aberration is visible as colour fringing towards the edges and corners of the frame, and as usual is strongest at wideangle. It tends to be most obvious when the lens is stopped down a bit, which brings the fringing into sharpest focus. It's relatively easy to correct in post-processing, but will be visible in most cameras' JPEG output (although many Nikon SLRs will automatically remove it).

Because the Sigma is an APS-C lens, full-resolution 8K video isn’t possible. The R5 automatically removes 8K options from Movie Record Quality when mounted. Final thoughts In the fourth sample we've zoomed in to 35mm and placed the sun just outside the frame. The lens does particularly well here at maintaining contrast and shadow detail.

Sigma 18-35mm F1.8 DC HSM A Canon - DXOMARK

The net result is an optically-zoomed, clean image without any vignette (see below). Sigma 18-35mm f/1.8 on the Canon EOS R5 (1.6x Crop Aspect Ratio) A broad ridged grip covers most of the underside of the barrel between the zoom and focus rings, and provides positive handling when changing lenses. A final footnote is that I hear far fewer complaints coming from Nikon and Sony users than I do from Canon shooters. My guess is that Sigma autofocus is probably at its worst on Canon bodies. All third party manufacturers have to reverse engineer autofocus algorithms, but my experience is (at least for Canon) that Tamron has this better figured out than Sigma. Well, having spent a little time shooting with a pre-production 18-35mm F1.8 DC HSM | Art (near enough to production to take publishable photos with, far enough away that we can't review it), it's clear that it is possible. So, what's it like? Sadly we weren't able to conduct a full test on the 18-35mm F1.8, but our experience is that its performance is pretty much in line with that of F2.8 zooms on full-frame. The lens also has a very useful .23x maximum magnification (nearly 1:4 life size) meaning that you can get close to things and produce reasonably pseudo-macro results (macroish?). This compares very favorable to a lot of 50mm lenses and their typical .15x magnification. Even better is the fact that the lens continues to produce very sharp images at its minimum focus, although you probably will want to stop it down a bit for maximum sharpness and appropriate depth of field to your subject (f/1.8 is very shallow at minimum focus range).Every time I review a Sigma lens I will be closely looking at the AF (autofocus) performance. I’ve rarely had a problem with HSM motors when it comes to sound or speed (they are amongst the quietest focusing lenses that I’ve encountered and generally quite fast), but I have major concerns when it comes to AF accuracy and consistency. The Sigma 150-600mm Sport was the first Sigma lens that I walked away completely satisfied from when it came to its AF performance. I’m afraid the 18-35mm ART didn’t impress out of the box. My review body is a Canon EOS 70D, and trying to use my typical AFMA program ( Reikan FoCal) produced such variation that an automatic calibration simply didn’t work (the program gave up). I did a semi-automatic calibration using my own eyes, and discovered why. Just when I thought I had a value zeroed in, the results would jump around. The focus peak looked like a yo-yo. I’ve never had such a difficult time calibrating a lens before. The Tamron 24-70mm F2.8 Di VC USD is probably the best value fast 'normal' zoom for full frame cameras, and like the Sigma 35mm F1.4, we had no hesitation in awarding it a Gold Award in our recent review. Not only does it offer built-in image stabilization, optically it comes as near as makes no difference to its Canon and Nikon counterparts, which are both much more expensive. Some DX / APS-C lenses are known to work quite well on full-frame cameras, with some vignetting that can be removed in the corners (the Nikon 35mm f/1.8G is a good example of such lens). The Sigma 18-35mm f/1.8G is not a good candidate to be mounted on a full-frame camera, especially at the shortest end of the focal length. Take a look at how the image turned out when I shot it at 18mm on the Nikon D800E: There's no denying that the 18-35mm is a pretty large lens - it's 10mm longer than the Tamron 24-70mm F2.8. It's also a fairly heavy lens - essentially the same weight as the more rangey Tamron. However it balances pretty well on high-end SLRs such the Canon EOS 7D shown left, helped by the camera's substantial hand grip. We suspect it's likely to be found on this class of camera most of the time.

Sigma 18-35mm f/1.8 DC HSM ART Review - DustinAbbott.net Sigma 18-35mm f/1.8 DC HSM ART Review - DustinAbbott.net

The Sigma 35mm F1.4 DG HSM impressed us hugely when we reviewed it at the end of last year, and is probably the sharpest 35mm F1.4 prime on the market. When tested on the same camera, the zoom may be just fractionally less sharp at large apertures, but you probably wouldn't see any difference in real world shooting. The zoom also has slightly higher vignetting and distortion, but lower chromatic aberration. From this data, you'd be hard pushed to see any meaningful differences between the two in side-by-side shooting. Remember this is the 18-35mm's weakest focal length. Compared to Tamron 24-70mm F2.8 Di VC USD This is an amazingly sharp lens, even wide open at ƒ/1.8, which is typically not the case with very wide-aperture lenses. At 18mm and ƒ/1.8, the Sigma shows very little corner softness and a good portion of the center and middle of the frame are very sharp indeed. As we've seen time and again, very wide-aperture lenses (> ƒ/2.8) can often show significant corner softness when used at their widest apertures, but the Sigma 18-35 not one of them. In this respect, it beats even many fast prime lenses in its focal length range. While on that note, the lens is rather large, especially for what many of you will be used to with this focal range. It’s a few inches longer than a comparable Canon 18-55mm or Nikon 18-35mm. The entire zoom range is internal, so it doesn’t change sizes on you. Impressively bright constant f/1.8 maximum aperture is well-suited for working in low-light conditions and also provides greater control over the focus position when using shallow depth of field techniques.

Things to consider before buying

The 21mm-wide zoom ring has a pleasant, fluid movement. It glides smoothly without any play and feels correctly damped, giving a real impression of quality. It rotates 50 degrees from 18 to 35mm, with additional markings at the 20, 24 and 28mm positions.