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 DC HSM Art Review - Lensora Sigma 18-35mm f/1,8 DC HSM Art Review - Lensora

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!! A feature worth commenting, which is also related to lens brightness, is that the brightness and maximum aperture-value remains constant regardless of focal length used. This makes it easier for you as a photographer. No matter if you are have the focus ring and focal length at18mm or at35mm the aperture value can bef/1,8. The filter thread is 72mm, and doesn't rotate on focusing. It's surrounded by a bayonet mount for the petal-type lens hood. 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.

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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 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. Image quality is next to perfect, bokeh, speed aperture yeah just about everything about this lens is almost perfect. 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.

Sigma 18-35mm f/1.8 DC HSM Art - Digital Cameras, Digital Sigma 18-35mm f/1.8 DC HSM Art - Digital Cameras, Digital

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 I really loved the bokeh out of this lens. It's smooth and fluid, and makes the shallow depth of field really beautiful. Thumbs up here.Most people changing formats from APS-C to full-frame are likely to find themselves buying 24- or 28-70mm F2.8 zooms, as such a lens makes it easy to access the larger format's low-light and shallow depth-of-field capabilities. The key to understanding the Sigma 18-35mm F1.8 is to realize that it gives the same control over depth-of-field as a 28-50mm F2.8 would on a full-frame camera - it also allows you to shoot at wider apertures in any given situation, effectively cancelling out the greater low-light ability that a larger sensor would otherwise give. And, especially if you own a high-end APS-C camera, that can help to reduce some of the motivation for moving to full-frame.

Used Sigma 18-35mm f/1.8 DC HSM ART - Canon EF-S Fit - MPB

You will notice that the 18mm images look a lot softer, and that has a lot to do with that wider focal length. We increased the angle of acceptance, therefore converging the lines of resolution, which now must fight for the few pixels that will accept their information. This equals less resolution. Below is an image where I increased the amount of space an image occupied in my frame, which gives another look at the sharpness at 18mm.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) 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. At 18mm full-aperture sharpness is excellent from corner to corner, though sharpness in the outer field drops slightly through the zoom range to 35mm. For most focal lengths and apertures, though the sharpness differs by 5% or less across the frame. 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. 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

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

Vignetting is remarkably low for such a fast lens, reaching just 1.3 stops wide open at all focal lengths. It also essentially disappears by F2.8. Overall it's unlikely ever to be problematic in real-world use. This situation, for me, keeps the lens under the glass ceiling that exists right above the “prosumer” level of equipment, and for this lens I think that’s perfectly acceptable. It’s not designed, I don’t think, to be pro glass. It’s designed to give those higher-end consumers a lens that looks great, shoots well, produces images vastly superior to competitors in the focal range and offers a uniquely wide-open aperture. For that, it easily stands out as a top contender for APS-C camera owners looking to get something far better than a kit lens at a focal range that usually screams “beginner.” I would recommend this lens over the Canon 18-55mm any day of the week.Although it is unlikely a user would buy several full-frame wide-angle lenses specifically for an APS-C format camera, the fact remains that the Sigma 18-35mm f/1.8 DC HSM is an outstanding performer optically. Five Special Low Dispersion (SLD) elements are featured in the optical design and help to reduce colour fringing and chromatic aberrations for improved clarity and colour accuracy. The HSM (Hyper Sonic Motor) ensures a silent, high-speed AF function. Optimizing AF algorithm, smoother AF is achieved. It also enables full-time manual focusing capability which allows sensible focus adjustment by simply rotating the focus ring. The Sigma 18-35mm F1.8 DC HSM | Art gives the same control over depth of field that full-frame shooters are used to with constant F2.8 lenses. Photo by Barnaby Britton One real problem we had in real-world shooting with the 18-35mm was with autofocus. Depth of field is limited at F1.8 - especially at 35mm - which means that even slight misfocusing can become very visible if you look closely at your images. We shot with a range of Canon SLRs, from the entry-level EOS 100D to the top-of-the-line EOS 7D, and all had problems focusing absolutely correctly all the time. This was usually only obvious when shooting at apertures larger than F2.8. In general, we got slightly better results by using the central AF point (with recomposition) compared to using off-centre AF points, but this didn't eliminate focus errors entirely.