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Posted 20 hours ago

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

£324.5£649.00Clearance
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ZTS2023
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The Sigma 18-35 has an attractive, clean, slender, smooth design that, if I haven't made it clear already, I like a lot.

With the sun in the corner of the frame, the Sigma 18-35 shows very little flare from a wide open f/1.8 aperture. Same thing, but in focus at f/10. If this is 6" (15cm) wide on your monitor, the entire image printed at this same high magnification would be 60 x 40" (1.5 x 1 meters). At short distances, this lens is practically parfocal (focus distance settings remains the same throughout the zoom range). 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 This lens opens new possibilities for owners of APS-C format cameras for low light shooting and creative use of depth of field with a fast f/1.8 maximum aperture, normally reserved for prime focal length lenses. The image quality delivered, especially at shorter focal lengths is of the level normally reserved for prime lenses also.Sigma has a long history as a lens maker, having been founded over 50 years ago. In the film era it was best known for relatively inexpensive lenses that undercut the camera makers' own equivalents in terms of price. But this has changed over the part decade or so; while other companies have shifted manufacturing to cheaper locations such as China and Thailand, Sigma has stubbornly refused to move from its factory in Aizu, Japan. This means it can no longer compete in the same way on price alone, and it's therefore switched its focus towards higher-value offerings. TSC combines the characteristics of metal and polycarbonate and has the thermal expansion/contraction properties of aluminum.

But because the R5 can shoot 8K video, Movie Cropping applies a 1.6x crop to an 8K image. This creates a 5.1K image, which is then downsampled to 4K. This is what Canon calls “4K Crop” video. 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. Frequently, wide aperture lenses used on the largest sensor format camera they support, show significant amounts of vignetting – which negates some of the wide aperture advantage.It's super sharp at every setting clear out to the corners, although just a little less sharp in the corners at f/1.8 at 18mm. It's still sharp in the corners at f/1.8 at 18mm, just that everything else is so sharp that this is the only minor imperfection I can find. Being long on the wide end and short on the long end, 18-35mm still works well for many landscape photography uses.

MFT, E Mount, RF all have a very short flange distance from the sensor as they have been designed to be used on mirrorless cameras. Canon's EF, Nikon's F and the cine PL standard mounts have all been designed to accommodate cameras with reflex mirror mechanisms and so required much longer flange distances to allow for the space the mechanism requires. Note 05/18/2021 — an earlier version of this review incorrectly assumed f/1.8 on this lens was equal to f/1.8 full frame. This mistake has been corrected.) Variable focal lengths It's very hard to be accurate with this lens. Firstly, you need to make sure you set the end stops perfectly as the lens does not have hard stops. This means that if your end stops are 1mm out, you will not be able to repeatedly hit focus marks accurately. Setting the end stops is actually quite easy once you do it enough though.....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 Sigma's choice of F1.8 as maximum aperture isn't a coincidence; it means that the lens will offer the same control over depth of field as an F2.8 zoom does on full frame. What's more, combined with an APS-C sensor, the system will also offer effectively the same light-gathering capability as an F2.8 lens on full frame. By this we mean that it will be able to project an image that's just over twice as bright onto a sensor that's slightly less than half the area, meaning the same total amount of light is used to capture the image. This is important as it's a major determinant of image quality. Essentially it means that APS-C shooters will be able to use lower ISOs when shooting wide open in low light and get similar levels of image noise, substantially negating one of the key advantages of switching to full frame. I saw no falloff, even at f/1.8 at any zoom setting. Look at the f/1.8 sample images throughout the review.

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