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

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From a qualitative perspective, there is little difference in image quality between 5.1K and 8K when downsampled to 4K. To demonstrate, below is some “4K Crop” test footage using the Sigma 18-35mm f/1.8 on the EOS R5. Sample 4K Crop footage using the Sigma 18-35mm f/1.8 on the Canon EOS R5

Lensa Sigma 18 35 Mm - Tokopedia Lensa Sigma 18 35 Mm - Tokopedia

The R5 is effectively cropping the image for you. That’s more convenient than how the Canon 5D Mark IV functions, but the net result is still a low resolution image (18 megapixels instead of 45, the native resolution of the R5 sensor). One point implicit in all of these discussions is that we're examining images for pixel-level sharpness, which is a hugely demanding criterion. Images don't necessarily have to be this perfectly focused to be entirely acceptable when viewed on-screen or made into in anything other than very large prints. So while accurate autofocusing is highly desirable, slight misfocus doesn't necessarily spoil a photograph completely. This is where each individual photographer has to make their own decision about what they're prepared to accept, based on personal experience and preference. The 18-35mm is remarkably sharp even wide open at F1.8, and in the wider half of its range (18-24mm), there's no measurable increase on stopping down (i.e. the lens is effectively diffraction limited). At the longer end (28-35mm) there's a slight improvement in sharpness on stopping down to F4, but in practice it's unlikely to be especially noticeable. For an F1.8 zoom, this is little short of astonishing.I have used it in the studio and out in the field. As the DOF is so shallow at F1.8 it works far better in continuous focus mode when anything like close. As even the slightest movement will throw it out of focus ! GrahamHO - It's all a question of whether you think in terms of per-unit-area light (and then enlargement), or you think about per-whole-image light (and hence don't have to think about the ratio between the capture medium and the output size).

Fstoppers Reviews the Sigma 18-35mm f/1.8 DC HSM Art Lens Fstoppers Reviews the Sigma 18-35mm f/1.8 DC HSM Art Lens

The lens is impressively sharp at 1.8 WHEN IT FOCUS CORRECTLY! I spent about 2hrs yesterday playing with the micro adjustments and i still cant get it right. Focus is pretty accurate until you try focusing on something that is about 10ft and behond.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 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." The Sigma 18-35mm f/1.8 DC HCM is a technological marvel, because it is the first zoom lens in history with such a wide / fast aperture. On top of that, Sigma used many high-end features and components that are usually only available on pro-grade full-frame lenses. First, the lens comes with a hypersonic motor (HSM), which provides silent and fast autofocus. NIKON D800E + 18-35mm f/1.8 @ 20mm, ISO 100, 1/800, f/5.6 The Sigma can focus down to around 12cm in front of the lens - making the 18-35mm a pretty flexible all-round lens. Photo by Barnaby Britton

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?

Wide-to-normal zoom is designed for APS-C-format Canon EF-mount cameras and provides a 28.8-56mm equivalent focal length range. 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 That 1.8 means i can keep my ISO as low as possible and the DOF although shalow is acceptable (18mm@2m DOF=93cm and 35mm@2m DOF=23cm)As I said earlier, there are two ways to look at this lens. Before examining those, however, let me first say that this is undoubtedly one of the finest crop specific lenses out there. APS-C has received relatively little development dollars from most manufacturers and as a result APS-C lenses tend to be budget options with variable apertures. This lens is as lovingly designed as other Sigma ART series lenses, and thus it is the Cadillac of crop sensor zooms. I’m happy that such a lens exists. It does indeed exist…should you buy it? The total light has nothing to do with the exposure, it's the intensity of light (light per unit area) at the sensor that matters (right?). A smaller sensor doesn't mean you need a higher ISO to shoot at the same equivalent exposure. If that were the case the center of a FF would be 1 stop darker than the rest by the above logic. It does not appear justifiable to me to criticise the lens for any AF issues, unless you have confirmed any issues with other cameras / mounts. This lens gives full frame equivalent 24 to 52 mm which means that now there is a zoom lens that will cover all the sizes you need for everyday indoor photos of family and friends that is brighter than any equivalent ff zoom that I know of. As with the 35mm prime, this new model is one of the firm’s new Art series lenses challenging Canon’s L-series and the similar ED lenses from Nikon for optical quality.

Sigma 18-35mm F1.8 DC HSM A Canon mount lens review: fixed Sigma 18-35mm F1.8 DC HSM A Canon mount lens review: fixed

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. 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: 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 I was not blown away with the lens in AF Servo mode either. The 70D has a relatively robust AF system, but when I got my dog to charge towards me I felt my focus accuracy was about 25%. The lens seems to like single shot AF better. As for sharpness. Hard to put in words. It's like you discovered what 24 mp can really do for the first time. Because you can open the lens to 1.8 you can literally have any dof and any bokeh you want. And low light: better than any dx prime and also flexible because of the zoom.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? That is one of the advantages of designing lenses for smaller formats. Despite the relatively high imaging performance of the Zeiss, some chromatic aberration is noticeable in the corners of the frame though distortion and vignetting are at similar levels. Be that as it may, as our results show, at 18mm the new Sigma lens is much more suited to the APS-C format than the Zeiss.