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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

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. 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).Oversampling 5.1K to 4K is apparently less taxing on the camera than 8K to 4K, so the R5 does not heat up or require periodic cool downs as it does when shooting “4K HQ” video. The only limitation with “4K Crop” then is the R5’s 30 minute record time limit, which is standard in all their non-cinema cameras. Downsides of the Sigma 18-35mm f/1.8

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).

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

18-35mm F1.8 DC HSM | Art | Lenses | SIGMA Corporation

There's a comment in the introduction part of this review that doesn't make sense to me. I think it's wrong, but perhaps I'm missing something. Dpreview states, "it will also offer effectively the same light-gathering capability as an F2.8 lens on full frame", "meaning the same total amount of light is used to capture the image", "APS-C shooters will be able to use lower ISOs... substantially negating one of the key advantages of switching to full frame." We offer you to compare any cameras to see which one that is most right for you. This is what other users have compared recently. Canon EOS 20D vs Canon EOS R5As many of you know, I don’t do chart testing, but the optical excellence of this lens was clear in field use. There is very little to criticize. Vignetting is quite low on the lens and compares favorably with most primes covering similar focal lengths. The lens is not particularly flare resistant, and will produce a bit of ghosting when the sun is directly placed in the frame. The resulting artifacts are fairly artistic, however, and this is far from the worst offender I’ve seen in this regard. This video will give you an idea of the lens’ reaction to the sun being placed in the frame. What's more, it 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."

Sigma 18-35mm F1.8 DC HSM Review - Digital Photography Review

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. But ignoring the issue, which is being discussed among many customers, doesn't make issue gone. And even if it may work ecxellent on different models, still put some future customers into suspect and that harms the reputation of the product not fairly. We offer you to match any camera and lens to see if they are compatible or not. This is what the last users has tried to match. Nikon D3 + Sigma EX 12-24mm f/4,5-5,6 DG HSM These lenses can be compared in several different ways, but its clear that regardless of whether we look at them them both tested on the same camera body, or at how the Sigma on APS-C compares to the Tamron on full frame, the 18-35mm easily holds its own in these studio tests. Compared to Canon EF-S 17-55mm f/2.8 IS USM Lateral chromatic aberration is pretty low. The graphs indicate a little green/magenta fringing at wideangle, and moderately strong blue/yellow fringing in the middle of the range (note though that this tends to be visually less intrusive). At the long end, chromatic aberration is essentially nonexistent.I just received my new Sigma 18-35 1.8 A and i noticed that the focus sound on live view on my T4i is not quite as the non-live view focus, do you have the same thing with your lens or my lens has a problem? This lens is really potentially a game changer. Really, where there is plenty of light, the APS-c cameras do just as well as the full frames. It is in low light where these cameras struggle, especially now they have gone to 24 mp. The Canon EOS R5 is, however, smarter than the 5D. The R5 recognizes the Sigma 18-35mm’s crop factor and automatically changes its Cropping/Aspect Ratio setting to “1.6x (crop)”. APS-C lenses automatically enable “1.6x (crop)”. All other options disabled. Something to consider with this lens is that F1.8 is there if you need it and it is certainly usable ! Like any lens... it performs better when stopped down.