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

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yeah but that's what you not getting about being "bright enough" if your shooting on a crop body, your sensor is already capturing 1-2 stops LESS of light than you would be on a FF. So putting this lens on a crop body doesn't give you any more light, if just helps you match the same amount of light you can capture on a FF sensor with a f2.4-2.8 lens. So no gain is being made just like I said above, where as if you just got FF off the bat, and the "light gain" you talk of would be in the body sensor, and it would be across ALL lenses and just not 1. When pinning down what's going on here, we have to draw a distinction between focus accuracy and consistency. Point an SLR at the same subject and autofocus 10 times while looking through the optical viewfinder, and it'll probably give 10 slightly different results. How close it comes on average to focusing correctly defines the accuracy, whereas the spread of focus distances describes the consistency. Here you can also see the 'Made in Japan' label - not something you'll find on all lenses any more.

Sigma 18-35mm f/1.8 DC HSM Art Review - Photography Life

The lens seemed to do best within about 8 feet, but in the crucial portrait window of 8-15 feet (for full body shots) the focus accuracy dropped dramatically. This reveals one of the problems I (and others) have experienced with the lens. You can set an effective microadjustment value for a certain distance, but that value may not be the right one for other distances.

Lens brightness and image stabilizer

In the first set we're shooting at wideangle with the sun in the corner of the frame, and comparing what we see with lens shot wide open and then stopped right down to make flare patterns most defined. Here the results depend upon the aperture; image contrast is maintained well at F1.8, and holds up on stopping down to about F4. Diagonal flare patterns become visible at F5.6, and shadow detail starts to deteriorate too. Both effects becomes more pronounced at smaller apertures, and at F16 we see well-defined and intensely-coloured flare patterns, along with substantial loss of shadow detail.

Need the speed? Sigma 18-35mm F1.8 DC HSM in-depth review Need the speed? Sigma 18-35mm F1.8 DC HSM in-depth review

The pictures below illustrate the focal length range from wide to telephoto (on Canon APS-C, 1.6x). The 18-35mm covers a modest 2x zoom range. I tested the sharpness of this lens in a number of situations, and found it to be pretty consistent and sharp at all focal lengths and apertures. Yes, it is most certainly sharpest between f/5.6 and f/7.1, with the best image quality at a wide angle produced at f/2.8. However, it still performs pretty well at f/1.8, just maybe not quite as good as many of us were hoping. It certainly is softer than the 35mm f/1.4, but is markedly better than any other variable focal length kit lens in this range that I have used. On smaller, lighter entry-level SLRs such as the Canon EOS 650D, the overall balance becomes more front-heavy, meaning you'll often find yourself supporting the camera by cradling the lens itself. Frankly, these models tend not to have hand-grips that are comfortable to hold for long periods anyway, so this encouragement to support the lens is no bad thing. Size comparedAs part of the Art line within Sigma's Global Vision series, this lens is designed to achieve truly notable optical performance and is ideally suited for creative and artistic applications. Comparing the 18-35mm on a mid-range APS-C body to the Tamron 24-70mm F2.8 on one of the latest, similarly enthusiast-focused full frame DSLRs, there's essentially no difference in overall bulk. The small differences in weight and and length between the lenses make no appreciable difference to the handling, either. The main difference lies in the 18-35mm's internal zoom design, whereas most 24-70mm F2.8s extend substantially on zooming. Autofocus Our final comparison, ironically, has the new Sigma up against the firm’s new 35mm f/1.4 DG HSM A, the best performing full-frame 35mm lens in our database. Although it’s easier to make a high-speed 35mm than either a 24mm f/1.4 or a 18mm f/3.5, the Sigma 35mm is without doubt a superb performer optically and yet the new Sigma 18-35mm zoom comfortably achieves a higher DxOMark Score. The new zoom also has slightly higher levels of sharpness and has the edge in uniformity. Less important perhaps is the superior transmission score, while the differences between distortion, vignetting and chromatic aberration are practically negligible.

Sigma Art 18-35mm f/1.8 - Canon EF - CVP Sigma Art 18-35mm f/1.8 - Canon EF - CVP

Attach the Sigma (or any APS-C lens) to the R5, and the camera automatically enables Movie Cropping. This is effectively doing for video the same thing as the aforementioned Aspect Ratio by applying a 1.6x crop. Canon EOS R5 Movie Cropping automatically set to “Enable” with Sigma 18-35mm attached Optimizing quality with our integrated production system, Sigma is focused on making things right, with our own hands and our own techniques. We are now one of the very few manufacturers whose products are solely “made in Japan.” We like to think our products are somehow imbued with the essence of our homeland, blessed as it is with clean air and water, and focused, hard-working people. We pride ourselves on the authentic quality of Sigma products, born of a marriage between highly attuned expertise and intelligent, advanced technology. Our sophisticated products have satisfied professionals and lovers of photography all over the world, because our manufacturing is based on genuine craftsmanship, underpinned by the passion and pride of our experts." In conclusion, this is a groundbreaking lens no matter how you look at it, and I applaud Sigma for taking a chance and thinking outside the box. I do feel that it is has paid dividends here. The image quality from the Sigma 18-35mm f/1.8 DC HSM ART lens is exceptional in every facet, and the fact that Sigma managed to go a full 1 1/3 stops wider than other zoom lenses while still nailing the image quality is a huge achievement in engineering. The next review on my list is the brand new full frame 24-35mm f/2 from Sigma. Sigma’s Achilles’s heel of focus accuracy persists with the 18-35mm, but I do think that many people will find the lens good enough to endure a little tweaking to get it right on your body. Pair this lens with a good telephoto and you would have an excellent kit that would offer premium image quality on the great APS-C bodies available to consumers right now. Above all, though, I commend Sigma for taking some chances and swinging for the fences. I’m reminded of the quote from Norman Vincent Peale, “ Reach for the moon. Even if you miss, you’ll land among the stars.“ Pros: Unlike a prime lens with a single focal length, the Sigma is variable. You may zoom in-and-out without physically moving your camera setup. This offers greater flexibility, speed and creative control when composing a shot — especially when mounted on a tripod.However, we believe most potential buyers for this lens will be demanding users - either serious enthusiasts or professional photographers. And while we think that they'll be delighted with the image quality the lens delivers when properly focused, they won't generally find this kind of hit-and-miss focusing at F1.8 very acceptable; the lens just doesn't reliably deliver usable images every time. This doesn't mean that there's no point in buying the lens at all - its outright image quality at normal working apertures is reason enough to get one - but it does mean that we'd recommend testing before you buy, if at all possible. Of course we've only used the Canon mount version of the lens - it's possible other versions may work better. Specific image quality issues

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?

For starters, as many of your know, this is not a full frame lens. It is designed specifically for cameras with APS-C sensors, which means you can’t fit it on your 5D MKIII or D800. I personally think that though the full frame sensors are nice, their impact and necessity are generally overstated. Are they great? Absolutely. Are you a bad photographer if you don’t have one? That’s absurd. The other take-home message here is that, while our copy of the lens showed a tendency towards focusing in front of subject (and therefore required positive microadjust values), the correction needed at each setting was different. So using a global in-camera microadjust value would necessarily be a compromise - setting a value to correct any given focal length and subject distance could throw off the focus at other settings. We observed this in practice using the Canon EOS 7D's microadjust feature - it could only be set to give optimal focusing at one given focal length and subject distance. Are we looking too closely?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. Chromatic aberration is extremely well controlled in this lens. It was here that I was probably most impressed. In studio situations, I saw no chromatic aberration at all, even wide open. I was ready to say that there was no CA present whatsoever until the last day of testing on location when I noticed a very slight purple fringe appear around a stitched logo on one of my bags.