Designed specifically for crop APS-C cameras.
The model was released in April 2013 and forced many connoisseurs of high-quality photographic equipment to buy this model for themselves.
Just look at how he shoots the videoSigma 18-35mm F1.8 DC HSM Art:
Explanation of the Sigma 18-35mm F1.8 DC HSM Art lens markings:
ART- lenses from the new Sigma Global Vision line. This line includes models created with an emphasis on artistic drawing. Application: landscapes, portraits, still lifes, close-ups and other genres where, according to the manufacturer, photography allows you to “bring out your inner artist.” The main part of the line is occupied by fast lenses with a fixed focal length.
HSM (Hyper-Sonic Motor)- Sigma autofocus lenses with ultrasonic focusing drive. Have increased speed and focusing accuracy, they operate almost silently, and work accurately in the servo-AF mode.
DC (crop)- lenses designed to work only with digital cameras with a full-frame APS-C matrix.
This model has already won many awards, thereby confirming the high class of the Art line
Sigma 18-35mm F1.8 DC HSM Art In Minsk For SLR cameras Canon, Nikon, Sony, Pentax without leaving your home. Call or make a purchase through the website, and they will bring the lens to youto any convenient address.
What can the Sigma 18-35mm F1.8 DC HSM Art boast of?
Internal focusing and zooming(trunk does not come out). The lens dimensions will remain unchanged, which is convenient when working. In addition, the front lens does not rotate, which allows you to use different filters.
Constant aperture throughout the entire F1.8 range (makes it possible to take sharp shots in the evening);
U Ultrasonic Motor (HSM) for fast and quiet autofocus
Multi-layer anti-reflective coating that can protect against glare, reflections and distortion.
Reliable metal, brass mount.
We advise, help with the choice and deliver the order for free in Minsk!
- Reportage and wedding photography
- Landscape photography
- Portrait photography
- Street photography
- Family photography
- Travel photography
- Professional video shooting
Also, if you want to test the lens before purchasing, you can do this at Photobuba rental
Unboxing example of the Sigma 18-35mm F1.8 DC HSM Art lens
Equipment:
⇔ Sigma 18-35mm F1.8 DC HSM Art Lens
⇔ Convenient lens case
⇔ Hood
⇔ Instructions in Russian
⇔ Box and warranty card
Online store specialists Sigma photographic equipment always in touch and ready to provide detailed information about the selected lens model. We guarantee efficiency in placing orders and fast delivery on the day of order within the Moscow Ring Road.
In addition, wide payment options include not only cash and bank transfer, but also webmoney, ERIP, and for residents of Russia, it is possible to pay using a Sberbank card.
Improve your photographic equipment with our online store!
Here's a video shot with the Sigma 18-35mm F1.8 DC HSM Art:
Customers who purchased the Sigma 18-35mm F1.8 DC HSM Art note:
Excellent build quality and case materials;
The zoom and focus rings are very comfortable and rubberized;
The set includes a functional hood with an internal corrugated surface;
The ultrasonic motor is quiet and fast, as well as accurate and confident autofocus;
You can buy Sigma 18-35mm F1.8 DC HSM Art lens in the online store of photographic equipment Sigma. To do this, click the “buy” button, enter your information and wait for the manager to contact you. And if you don’t want to wait, call yourself:
Review and test results of the Sigma Art 18-35mm f/1.8 DC HSM lens on a Canon EOS 70D camera
Sigma Art 18-35/1.8 DC HSM
The recent history of Sigma lenses began in September 2012, when the first models of each of the three new lens lines (Art, Contemporary and Sport) were introduced to the market:
Sigma C 17-70/2.8-4 DC Contemporary
Sigma S 120-300/2.8 DG OS HSM Sport
The hero of today's review is the Sigma Art 18-35/1.8 DC HSM - “the fastest mass-produced zoom lens for SLR cameras in the history of photography”, was announced in April 2013, the new product became the first model with a variable focal length in the “Art” lens line. . The lens still stands apart and it is difficult to find direct competitors: the closest analogues, starting at f/2.8, are “darker” by an impressive 1 and 1/3 stops.
Sigma Corporation is sensitive to the Art line and its representatives: today there are only 4 zooms in it:
There are no complaints about materials and workmanship: high-quality plastic, metal bayonet mount, base of the case made of metal and “heat-resistant composite material TSC”, rubber non-slip coating of focal and change rings manual focus pleasant to the touch. Sigma's "Thermally Stable Composite compound material - TSC" looks and feels like metal, but is actually a type of polycarbonate with thermal properties similar to aluminum. Its use allows you to reduce the weight of the product without losing consumer characteristics, durability and strength. Sigma Art 18-35/1.8 DC HSM looks and feels solid and tightly built.
View from above
The controls are represented by a distance window, rings for changing focal lengths and manual focusing, and an autofocus mode switch. The rings are located traditionally: focal changes - in the place of natural grip, closer to the rear element; manual focus ring - closer to the front edge of the lens.
The focusing ring is perfectly damped, comfortable, wide (35 mm, 26 of which are covered with ribbed rubber), fits like a glove, the stroke is smooth, the force is uniform and comfortable. Does not rotate in autofocus mode. The travel of the ring is about 125 degrees, distributed unevenly - almost 100 degrees are given to the range from the minimum distance to 1 meter.
Rear element
The lens does not change its external dimensions either when zooming or when focusing, the front element does not rotate, and the use of filters is not difficult. The middle part of the lens, not occupied by the distance window and the focus mode switch, is ribbed, which is intended to make it easier to install and remove the lens. The autofocus mode switch is conveniently located. The size is comfortable, the shifts are clear. The zoom ring is wide (30 mm, 20 mm are covered with non-slip corrugated rubber), perfectly damped, fits like a glove, rotates with uniform force, without jerking or jamming. The effort is more than usual, but does not go beyond what is comfortable. On the front of the ring there is a scale of focal lengths - 18, 20, 24, 28 and 35 mm. The zoom ring travel is short - about 45 degrees.
The Sigma Art 18-35mm f/1.8 DC HSM definitely belongs to the upper segment of interchangeable optics and inspires respect in its design, construction, assembly and materials used. The lens evokes only positive emotions. You can complain about the considerable weight, and complain about the lack of dust and moisture protection.
Geometric distortion
Sigma Art 18-35/1.8 DC HSM successfully controls geometric distortion, but I expected a little best results: 29 mm equivalent cannot be classified as an “extreme wide angle”, and the lens magnification is quite modest.
The behavior is predictable: barrel distortion at wide angles gives way to pincushion distortion as focal lengths increase. A change in the nature of geometric distortions occurs in the 24 mm focal area, where the lens is practically free of distortion.
The “barrel” of 2.05% at a focal length of 18 mm decreases to 1.35% by 20 mm. At a focal length of 24 mm, Imatest determines the pincushion distortion to be 0.15%, the “cushion” increases to 1% at a focal length of 35 mm.
Distortion by 18 mm
Distortion by 20 mm
24 mm distortion
Distortion at 35 mm
I repeat: the performance is decent, in no way inferior to competitors, and in most cases the distortion in the pictures will be invisible. The nature of the distortions is correct; if necessary, they can be easily eliminated during post-processing.
Resolution and Sharpness
Sigma Art 18-35/1.8 DC HSM deserves the highest praise: excellent central resolution even at a fully open aperture and convincing uniformity of sharpness across the entire field of the frame allow you to use the lens even at a fully open aperture. F/1.8 for the hero of the review is actually a “working” value, and not an optional one, as is very often the case with fast lenses. Look at the "center sharpness vs aperture" graphs produced by Reikan Focal .
Center sharpness vs aperture value at 18mm
Sharpness vs aperture at 24mm focal length
Sharpness vs aperture at 35mm
With a resolution comparable to the best representatives of the “prime lens” family and performance, the Sigma Art 18-35/1.8 DC HSM was definitely a pleasant surprise (if not a surprise).
You can read about the method of presenting the obtained data in the material "Starting point" .
Chromatic aberrations
Sigma Art 18-35/1.8 DC HSM convincingly combats chromatic aberrations: the conditionally acceptable level of 0.06% is not exceeded.
The coloration of out-of-focus areas is present at open apertures, but is expressed relatively modestly and ceases to be annoying when the aperture is closed to f/2.8.
HA 18 mm f/1.8
XA 24 mm f/1.8
XA 35mm f/1.8
Everything is in perfect order with control over spherical aberrations: the focus shift is not determined.
Vignetting
The Sigma Art 18-35/1.8 DC HSM controls vignetting quite confidently: the effect is clearly pronounced at a fully open aperture; the lens closed down to f/2.8 does not cause any complaints.
Vignetting 18mm f/1.8
Vignetting 24mm f/1.8
Vignetting 35mm f/1.8
Considering the range of focal lengths, one could hope for lower performance, but do not forget that the peak of vignetting occurs at f/1.8, and at f/2.8, where the main competitors “start”, the hero of the review is fine.
Autofocus
The Sigma Art 18-35/1.8 DC HSM autofocus drive uses a ring ultrasonic motor. The process is almost silent. The hero of the review is not a record holder for autofocus speed, but he cannot be considered an outsider either: a run over the entire distance takes about 1 second, which is an average.
Back focus on the EOS 70D (from left to right at f/1.8: 35mm, 24mm, 18mm)
The autofocus performance of the tested Sigma Art 18-35/1.8 DC HSM was so puzzling that the lens was tested on two cameras: a Canon EOS 70D and a Canon EOS 5D mark II (if we forget about vignetting, the hero of the review works quite calmly on full-frame Canon EOS).
Vignetting on Canon EOS 5D: 18mm, 24mm and 35mm
Preface to the story about the operation of phase detection autofocus, let's briefly talk about the good things: with contrast detection autofocus, everything is in perfect order, regardless of the focal length - convincingly fast, confident and accurate. Reikan Focal estimates the repeatability of contrast autofocus results at 99 percent or more over the entire focal range. Let me remind you that a result above 98% is considered “excellent”.
Contrast AF stability at 18mm
Contrast autofocus stability at 24mm
Contrast autofocus stability at 35mm
The test sample on the Canon EOS 70D showed a slight back focus throughout the entire focal range; on the 5D mark II it was right on target. But the words “right on target” need to be supplemented with sad things: phase focusing at a wide angle on the EOS 5D mark II was slightly alarming, on the Canon EOS 70D it was simply discouraging. The results on the 70D are unsatisfactory, and errors and misses become more frequent the wider the angle: at a focal length of 18 mm and open apertures, an acceptable result is rather an exception. Reikan Focal estimates phase focusing repeatability at 18mm to be 92% at best, with 85 - 90% being typical. The attached screenshots show the result of several runs.
Stability of phase focusing at focal length 18 mm
Another run at 18mm focal length
And one more
Repeatability of just 90% is critical in itself, but in reality the problems at focal lengths of 18 -24 mm are deeper: Reikan Focal evaluates repeatability by taking a series of shots with the lens refocusing after each one. Accordingly, repeatability in program terms is the spread of focusing results in a series without assessing the accuracy of the focusing itself: if the lens takes 10 equally unfocused frames, repeatability will be close to 100%. Please note: when evaluating contrast autofocus at 18 mm, the values on the ordinate axis (transition contrast, i.e., exaggerated “perceived sharpness”) are in the range of 2020 - 2050 units, with phase autofocus - on best shots only approaching 1900 units. Accordingly, the unimportant repeatability of 90% in itself is the repeatability of initially insufficiently accurate focusing.
At the 24 mm focal length the situation is relatively better: repeatability is 94 - 96%, the indicators are often in the region of 1900 units and above. At a focal length of 35 mm: a respectable 99-plus percent, but - again - this is the stability of the results, which do not reach the quality of contrast focusing.
24mm phase detection autofocus stability
Another run at 24mm focal length
Phase detection autofocus stability at 35 mm focal length
The behavior of the test sample is not the result of poor alignment, back or front focus. The unsystematic nature of the results makes it impossible to point a finger at the problem, and Reikan Focal refuses to evaluate accuracy: the results are so unpredictable that the program cannot use the inherent evaluation algorithms. Searching for information on the Internet did not give a definite answer, but reading forums and reviews from owners led to the conclusion that the Sigma Art 18-35/1.8 DC HSM phase autofocus is extremely rarely “friendly” with the Canon EOS 70D and is often capricious on the Canon EOS 7D mark II.
Whether this is due to dual-pixelAF is not clear, but on dpreview there are quite a few Canon EOS 70D owners complaining about having to use only contrast autofocus on an otherwise absolutely outstanding lens.
Reikan Focal cannot estimate focus
As an example of what this looks like: screenshots of sequential frames taken at f/1.8 with phase and contrast focusing, viewed at 100 and 200% magnification.
View at 100%
Once again at 100%
View at 200%
Sigma Art 18-35/1.8 DC HSM pleases with an excellent picture with rich and attractive color rendition. The lens has character and “pattern”.
Aperture f/6.3
Aperture f/9.0
At open apertures, the Sigma Art 18-35/1.8 DC HSM carefully and diligently blurs out-of-focus areas. The quality of bokeh in general is not satisfactory. The transition zones are smooth and natural not only behind, but also in front of the sharpness zone. Effective control over spherical aberrations has a positive effect on the overall impression.
Blur 35mm f/2.8
Coma is better than expected: it is expressed only very close to the edge of the frame. Stronger in the range of 18 – 24 mm, more modest when shooting at focal lengths of 24-35 mm.
Conclusion
- #1
I used this lens on a Canon 7D (mark 1) - the result of phase detection autofocus was similar (unpredictable). At wide angles the focus was often out of focus. It behaved fairly accurately at 35mm. I even bought a docking station, but I couldn’t set it up. I noticed that the focus hardly shifts if you focus on 35mm and zoom to 18mm, so at a wide angle you can shoot with it like this :) The picture quality from this lens is certainly amazing.
- #2
Anton, thanks for the comment! Regarding the first 7D, after surfing the forums, I didn’t find any particular complaints - it turns out that this behavior happens not only on DualPixelAF models?
In terms of parfocality: I have the impression that at close distances (up to 5 - 7 - 10 meters) the lens does not shift the focus point, but at distant distances there is a slight shift.
By the way, the lens very confidently struggles with changes in the size of objects/angle of the field of view when changing the focusing distance - it seemed to me that it was completely absent.I agree with the assessment: the quality of the generated image is simply excellent, even misunderstandings with phase focus were perceived not as an ambush, but as a small misunderstanding :)
- #3
I completely agree with Anton K. Autofocus practically doesn’t work on the first 7D. Especially at 18mm. The docking station doesn't help. I shoot in Life View. Looks very stupid. Several times I tried to get rid of Sigma. But I really like the juicy ones. buttery colors, super sharp (with contrast focusing, of course). The hope is smoldering that someday magical firmware will fix everything. I no longer buy original optics.
- #4
Michael, good day!
Thanks for the information, I was inclined to think that the problems arise due to the dual-pixelAF algorithms on the 70D, but it seems that the lens requires careful testing of phase focusing on other Canon EOS models. - #5
Vladimir, hello!
Thank you so much for the site and for such wonderful detailed reviews! I sincerely hope for the replenishment and growth of your site :)If you have a minute, I would be very grateful for a little advice - I am a beginner amateur photographer, I purchased a 70D with a Tamron AF 18-270mm f/3.5-6.3 (which obviously does not give that beautiful picture, although it is convenient for its versatility when traveling). I decided to take myself the most universal prime lens for shooting at home, small, portraits (it’s clear that I want too much :) I settled on the Sigma 35/1.4 DG HSM A1, but now I’m tormented by doubts: can I take the Sigma Art 18-35/1.8 DC HSM - it It will seem to be more practical and even cheaper, and it deserves your praise, but at the same time, I seem to have a “universal” lens and want maximum beauty :) Will I get a noticeable difference in sharpness and quality with the Sigma 35/1.4? If it’s not difficult to answer, I would be very grateful for your advice, what is better to stop at?
Sincerely,
Edward - #6
Eduard, hello!
Thank you for your kind review! I invite you to participate in filling the site with materials - I will be happy to post reviews and testimonials: share your opinion about equipment or accessories.In a direct “per-pixel” comparison, the Sigma 35/1.4 Art will outperform the 18-35/1.8 at 35 mm in terms of quality, but lose in versatility.
However, in this case, the question is more confusing (comments and information on the forums confirm this): 18-35/1.8 Art is extremely rarely “friendly” with phase detection autofocus on the Canon EOS 70D, and contrast focusing (albeit confidently fast on this camera) ) may act as a limiting factor. Accordingly, if we're talking about about choosing specifically between 18-35/1.8 and 35/1.4 Art on the EOS 70D, then I would advise you to go with 35/1.4. - #7
Vladimir, thank you very much for your answer!
I was glad to hear that your advice coincided with my choice :) Having decided that I still needed to touch the lenses live and see with my own eyes, I headed to the store where they both were. I was completely sure that I wouldn’t be able to immediately see the difference in the pictures and was very surprised when, when viewing it on a laptop (which I took with me), I liked the pictures from 35/1.4 subjectively more (it’s even difficult to describe what - maybe it was that difference in the aperture, making more beautiful bokeh and adding zest to the picture). Of course, I was still tormented by doubts about the greater versatility of the 18-35, but they dissipated almost immediately, since indeed the autofocus on the 18-35 with my 70D behaved somehow very, very uncertain in comparison with the 35/1.4 (much slower, with rolling back and forth and missing). As a result, I don’t regret my choice at all and, as it turned out, for the tasks I set, 35 mm, even despite the crop, copes perfectly and captures the necessary composition. :)
Sincerely,
Edward - #8
It is known that Canon specifically tries to prevent non-original lenses from being able to focus normally on their cameras. Therefore, it is necessary to conduct tests on Nikon. For example, the same Tamron officially licenses the bayonet mount and electronic connection to the camera from Nikon, and it is possible that Sigma does the same. What I mean is that I used this lens on a Nikon D7200 for about a month and not only did it focus faster than the native 17-55, but there were also 0% misses.
- #9
From testing on different systems: I can only remember a song about how “suddenly a wizard will fly in in a blue helicopter and... say - here are the carcasses of Nikon and other systems, otherwise it’s all Kenon and Kenon... Don’t know such a wizard?: )
Seriously, I have not heard of Nikon and Kenon revealing the algorithms for their autofocus systems to anyone. Maybe I missed something?
With Tamron, I’m more likely to believe in the possibility of a license from Sony (after all, Sony is the second largest shareholder of Tamron with 11% of shares). - #10
Interesting lens. About two years ago I was trying to buy one, but I was stopped by reviews about poor autofocus, and there weren’t enough optics back then, so I wanted more universal glasses. And then again the opportunity arose to get this glass at a low price. And again I am in doubt. The picture seems to be nice, but on the other hand there are some autofocus problems. In addition, at that time there was a version for Canon, and now for Nikon. And Nikon’s autofocus in Life View is a C grade. I am especially tormented by doubts about the picture. Will it be very different from the 24-70 2.8L per ff. In theory, the grip plus or minus is the same, but the focal lengths are smaller. But the old Elka is less sharp (although there was a second version, but it didn’t seem so beautiful to me, and for sharpness it’s better to turn to primers). In general, some doubts. If it had a stub, I would take it without options for landscapes after sunset. But there is no stub. And here the Canon 10-18is will be even better than this sigma - the stub will compensate from 3 to 4 stops, which is generally equal to or more than the compensation from the aperture ratio. It turns out that at 18mm on a Canon 10-18is it will be easier to remove static, but for dynamics sigma will be a little better. And here again is a question about autofocus, which will most likely be inferior to FF zooms. If on the 70-200 2.8lis2 I am sure that I will focus in almost any conditions, then there are doubts. In general, I don’t even know whether to take this sigma or not. I would take more for the sake of interest, to touch the zoom from 1.8 :)
- #11
The lens, I agree, is controversial due to the operation of phase detection autofocus on some models. And, probably, the decision should be made based on this parameter (for the rest, Sigma will definitely please). Alexander (the owner of the lens, who attended the test - many thanks to him!) could have passed the lens without any problems, but left it: for him, the image quality outweighed the confusion with phase focusing.
But I haven’t heard about problems with contrast autofocus on Nikon. A C - in terms of accuracy or speed or repeatability?
- #12
C grade speed. The d750 seems to have been improved - it feels like normal speed, the d500 seems to be even faster, but I haven’t touched it yet. But even with the d750, in my opinion, the speed is lower than that of the 650d from Canon. I'm not even talking about 70d (I think 80d is even better, but again, I don't have it). And old Nikon cameras have very mediocre speed in life view. My d7000, d5100 and d5200 are equally slow, and it doesn’t always stick, the d3300 is a little better, but still far from even the Canon 650d. Sony DSLRs have the best autofocus, but they have their drawbacks, so I abandoned them. And three systems are expensive to maintain. In principle, I am also inclined to believe that you should buy something and, if you have enough, either manually or sell it. As far as I understand, the adjustment in the lens works constantly, regardless of the body. Well, hence the problem - there are several cameras, so making adjustments to one is tantamount to losing accuracy on the other. There is really hope that at least for some time everything will be okay.
For example, the same Canon 70-200 2.8lis2 mercilessly smeared at 50d, while working perfectly at 7d, 40d, 5d and 5dm3. At the same time, other glasses hit the target at 50d. Nikon 50 1.4g is smeared on the d7000, while working perfectly on both the more pixelated d5200 and the less pixelated d80, d200, d70s, fujs5pro. Again, with most other lenses (including 50 1.4d) the d7000 is no problem. I cannot draw any meaningful conclusions from these studies. I just put up with the fact that some glasses on some carcasses are smeared and I don’t use them in pairs. I hope the same will happen with sigma.
I will also note the beauty of the Nikon mount - without any problems you can use this sigma with autofocus on Nikon, and without autofocus on Canon. So it will be possible to compare the work on Nikon and Canon, and on crop, and on FF.
Thanks for the quick response! - #13
It is still difficult to compare contrast with phase in terms of speed, although there are progress and there are models where the difference is difficult to determine. What is more unpleasant is the “feature” of working with insufficient light.
And hits/misses on specific instances of the lens and camera happen quite often. Mystery...
- #14
Master ACE (Thursday, 29 December 2016 10:40)
Thank you for your reviews, they are some of the best in RuNet!
It's a pity that problems with autofocus spoil the impressions of an interesting lens. I wonder if there is a chance that they will be fixed by firmware. - #15
Thank you for the flattering review, it’s nice)
I think that Sigma is working hard on this, but so far I have not heard of any significant results. Let's hope...
- #16
I became the owner of this lens on the d7200.
I ordered several pieces for purchase. They brought two lenses. Knowing about the nuance of changing the focal point from light, I took pictures in daylight and in lamps. One lens did change the focus point from weak front focus to normal. The second had a more pronounced front focus - but did not change the focus point when the illumination changed. This is the one I chose.
I'll start with a fly in the ointment. At usd dock the focus adjustment distance is 0.28; 0.35; 0.5; infinity. Most shots are taken from 0.5m to infinity and it would make more sense to combine 0.28 and 0.35 and make a 2m correction instead.
I also noticed that you can hit it accurately several times, and once the focus point moves quite a bit. But this practically does not happen on contrasting objects.
A huge plus is sharpness with 1.8. It is something. On the d7200, everything is fine in terms of weight, the dimensions do not change. Feels integral with the carcass.
Overall very good lens, I am very glad. - #17
Peter, thanks for your detailed comment!
I never had a chance to get acquainted with the work of the Sigma docking station, but this choice of distances actually raises questions.
- #18
The other day I took this miracle. Picture, sharpness, focus - everything is perfect. Paired with the D7200 there are no problems. I'm just peeing with happiness. Moreover, I bought a used one, in perfect condition, for 500 euros.
- #19
Tell me, how will this lens behave with the Nikon D5300?
- #20
I have not tried the lens in this combination. Maybe one of the readers will respond with their own experience,
- #21
Hello, I own a pentax k-70 and this lens and can personal experience to state the following: 1) I agree with you, phase autofocus at the wide end is very blurry, and if you use lens correction in the body and set up an accurate hit at the wide end, it is just as confused at the far end.
2) contrast autofocus also smears, but what’s surprising is that it smears when using one point, but if you use all of them, it hits. Miracles and nothing more
3) noticed that if you shoot closely spaced objects, it practically does not refocus (in phase mode)Do you think it’s worth sending it for adjustment, or is this problem incurable (misses with phase focusing)?
Like many, I would like to thank you for your reviews, some of the best in RuNet - #22
Good afternoon and thank you for your flattering review!
Information about problems on Pentax somehow passed me by; more often they complain about compatibility with Kenon. Plus, the first point hints at misalignment, not a systemic problem.
I would call the warranty engineer at the Onlinetrade service (they have exclusive coverage for Sigma in Russia and are a person who is truly passionate about photographic equipment) and explain the situation. What will he say? - #23
I had a lot of fun with this lens. I set it up in the docking station at the beginning of the year, then adjusted it after filming the reports and everything seemed to be set up - it hit more or less accurately. But one day I went to shoot a portrait photo shoot and almost all the photos were in front focus. After the next adjustment I had to add 2 to 3 units to the docking station for all focal lengths, now it seems to work)))
- #24
Corrections to previous comment.
The trick turned out to be that if the central point is a normal focus, then the lateral ones are a huge front focus, i.e. The further from the center the larger the front. Those. in the center it works generally fine. But you can’t use the side ones at all. This is such a lens.
So that there is no question that this is a carcass. Tested on d750 and d7200, sigma 18-35 and nikkor 24-70 lenses. If 24-70 behaves well on both carcasses, then 18-35 is also the same on both, with this nuance. Compared to 35mm. - #25
Good afternoon, daughter, a beginner amateur photographer. Give me some advice, the Canon body is 650D. We want to take 18-35 f1.8 glass. Will the body hold up, but in the future there are plans to change the body, but this is in the distant future
- #26
Denis, good day! I don’t quite understand what you mean by “the carcass will pull.” If you have any doubts that the camera will not be able to unleash the full potential of the lens, then it seems to me that this is good - you will have fewer limiting factors.
- #27
I'm asking for advice. All of the above completely coincides with my sigma, I’ve come to terms with it. The problem is that when photographing in the cold, from -3 and below, it refuses to focus, freezes, the focus rings move very tightly, and autofocus fails altogether. The lens is 1.5 years old. I wrote to the service office and they replied that the lens is not intended to be used at sub-zero temperatures. There is also Tokina, he has no problems. I can’t imagine what to do...
- #28
Regarding the 650d, will the Sigma 18-35 paired with it handle autofocus normally in video, just like the Canon 70d?
- #29
Victor, I often came across stories about a similar problem on Western forums. Moreover, even there the office responds vaguely to complaints.
I can’t tell you what can be done.Roman, I didn’t have a chance to test with the 650D, and the “theoretical” opinion and “correspondence assessment” are unlikely to be of value)
- #30
The fastest zoom in the history of photography? Shaw? Have you looked at f/1.4 zooms on c-mount for 3-7 thousand rubles? I understand that the text is copied and "quoted", but please follow the text.
- #31
Kolenka, I am very grateful to the caring readers and visitors of the site. Be sure to write more! I would really like to know more about “copied and quoted”. But in essence: Did you pay attention to the word “mirror” in the phrase? It's empty though. I’d rather give you a quote:
“The conversation at the table became more friendly, they began to seem to forget about Gleb Kapustin... And then he attacked the candidate.
– In what area do you identify yourself? - he asked.
– Where do I work, or what? – the candidate did not understand.
- Yes.
- At the philology department.
– Philosophy?
– Not really... Well, you can say so.
– Necessary item. – Gleb needed philosophy. He perked up. - Well, what about primacy?
– What priority? – the candidate did not understand again. And he looked attentively at Gleb, and everyone looked at Gleb.
– The primacy of spirit and matter. – Gleb threw down the gauntlet. Gleb seemed to take a casual pose and wait for the glove to be lifted.
The candidate raised his glove.
“As always,” he said with a smile. - Matter is primary...
- And the spirit?
– And the spirit comes later. And what?
– Is this included in the minimum? – Gleb smiled too. - Excuse me, we are here... far from public centers, I want to talk, but you can’t really run away - there’s no one to talk to. How does philosophy now define the concept of weightlessness?
– As always, I did. Why now?
– But the phenomenon was discovered recently. – Gleb smiled straight into the candidate’s eyes. “That’s why I’m asking.” Natural philosophy, for example, will define it this way, strategic philosophy – completely differently...
– Yes, there is no such philosophy – strategic! – the candidate became worried. – What are you talking about?
“Yes, but there is a dialectic of nature,” Gleb continued calmly, with everyone’s attention. – And nature is determined by philosophy. Weightlessness has recently been discovered as one of the elements of nature. That’s why I ask: is there no confusion among philosophers?”Sorry for the verbosity, I would give the whole story. I advise you to re-read at your leisure, Shukshin’s story, “Cut” is called.
- #32
Dear, I’m racking my brains after reading everything. Now I'm shooting with a cropped Nikon D7200. I want to change the Tokina 11-16/2.8 and Sigma 30/1.4 to something more universal and in the form of one lens (I’m tired of juggling). I won’t be switching to FF any time soon (whether I’ll switch or stay with Nikon with this policy are questions with an asterisk *). And now there was a choice between the subject and Tamron 15-30/2.8. I understand that Tamron is darker, maybe a little less sharp on the crop, and the bokeh is beautiful. I've seen enough pictures from both, I looked at the comparison on DxO. I often shoot reports a la reportage in poor light, but the studio camera also slips through. If there is a choice between autofocus hitting and beauty, then hitting comes first for me. In my steppes you won’t be able to speed up choosing a good specimen, and even with service Trouble, trouble. Which way to look, huh?
- #33
Nikkor 24-70 2.8
- #34
Tell me how this lens will behave on the EOS 200D body?
- #35
A lot has been written, but I still don’t understand whether this lens is for full frame or for cropped matrices?
- #36
For crop
- #37
How then did it fit on your 5D?
- #38
I want to buy one for Canon 77d. I tried 17-50 sigma 2.8. I wanted to take it for portraits.. but I didn’t like the colors. And the distortion of space at 17 was very noticeable. What can you consider for the Canon 77d for shooting indoor portraits?
- #39
Peter, he works for full frame(if you close your eyes to vignetting.
Usage period: 5 days
Strengths:
1) High sharpness with open.
2) Aperture ratio 1.8!
3) Excellent build.
4) Nice view.
5) Absence of CA and strong distortions.
6) Set.
Weak sides:
Apart from autofocus, there’s really nothing to complain about. Unless there is a lack of dust and moisture protection.
A comment:
This Sigma has been stirring my heart for many years now. Two years ago, before the crisis, an announcement about such a sigma for Canon popped up, but I thought too long. I was confused by the small range of focal lengths and the heavy weight. Two years later, I acquired many glasses and carcasses, and again in December this sigma came out (albeit under Nikon). I decided that it was fate and it would be unwise to miss it a second time, so I bought it. Now I'll go through the pros and cons
The sharpness at open aperture was very surprising. I had already read a lot of reviews and reviews on this sigma, but I was sure that it was far from a fix. And yet, the MTF charts, reviews and recommendations are confirmed - the sigma is very sharp, right across the entire field of the frame. At 35mm it is comparable in sharpness to the Nikon 35 1.8dx, even better in the corners.
Aperture 1.8 at zoom is a long-time dream of many photographers. And then Sigma rolled out this lens for reasonable money. And with open sharpness. This is a miracle! In fact, we get the equivalent of a 2.8 zoom to ff. At the same time, an extremely sharp equivalent. At one time I had a 24-70 2.8l2 and now I have a 24-70 2.8l, so the sigma lens of the first version (set to ff) is noticeably ahead in sharpness, and is almost comparable to the second version. And this despite the fact that even the first version in used form costs as much as a new sigma!
The assembly is gorgeous. Metal, glass and special plastic. Everything is very strong. The zoom and focus rings rotate extremely nicely, in my opinion even better than most electronics. There is nothing hanging out anywhere, there is no trunk, everything is done with the utmost quality.
Nice view. The Sigma does not attract too much attention and, without a hood, looks very similar from afar to most people to the 18-135 or 18-105, that is, it does not look too cool from afar. This is pleasant both in terms of pestering the photographer and in terms of visibility for thieves.
Returning to the image, I note the absence of ha at all focal lengths with an open lens. They exist, but they are vanishingly few. Distortion typical of wide-angle lenses is almost completely absent as well. All minor flaws can be easily corrected on the computer.
I always set the Sigma kit as an example to other brands. The hard outside and soft inside case and hood are a big plus for the purchase. I also got an excellent Rodenstock filter from a used one. The same sigma 150-500, in addition to what was mentioned above, due to its size and weight, also had a tripod foot. I don’t know why Canon with its 70-200 4L doesn’t give us the same. Why the lens hood does not come with 10-18is is also a mystery.
Now about the cons:
Autofocus As expected, as was written in the reviews, this is the main drawback of the lens. The d5200 has front focus on all focal lengths. It's a shame that this problem didn't bypass me. At d70s the focus hits the target. There is still testing to be done on the d5100, d80, d200, fuje s5pro and d7000. But most likely there will be problems there too. And the docking station won’t help me - setting up a new camera every time will be too tedious, unless you write down the values for each and make adjustments before shooting (but this is too tedious). It’s a pity that Sigma made an excellent optical lens, sells it inexpensively, makes a good kit, but hasn’t come up with a way to get rid of autofocus problems. It is clear that Nikon and Canon do not disclose the focusing algorithms, and in every new camera problems with this lens can happen (the Canon 70d and 7dm2 have problems, probably the 80d too), but it’s still a pity. Autofocus speed is quite acceptable, but again after 70-200 2.8lis2 it is noticeably lower.
The lens does not have dust and moisture protection. For me personally this is a problem. I love filming reports and you don’t know what the weather will be like. I understand that the same 70-200 4L also does not have protection, moreover, it is also expensive and seems like an Elka. But at the same time, the inexpensive 17-40 4L has protection, Nikon’s 70-300 VR and 16-85VR also have it. And then they were stingy.
If Sigma made the 18-35 1.8 protected and with perfect autofocus, I think few would overpay the extra 200-300 bucks for this innovation, but I would strangle the toad :)
Also, even before the purchase, I saw three aspects as disadvantages:
Small focal length. Trying to set focal lengths from 18mm to 35mm at 18-55, it seemed that these same 35-55mm were not enough for complete happiness. But after going a little further with 18-35, it turned out that these are quite convenient focal lengths. And there is no feeling that you are working with a prime lens - adjusting the frame by moving the zoom is just as easy as with other zooms. The scope may not be great, but it’s quite good. At one time, using a 17-40 4L on crop, I had enough range, but here it’s about the same, only with an aperture of 1.8.
The weight two years ago seemed too much to me. More than 800 grams was too much. At that time, the heaviest lens I had was a Nikon 70-300 VR, which is lighter than this sigma, but still seemed huge. After two years of working with 24-70 2.8l, 70-200 2.8lis2, sigma 150-500os, as well as a number of difficult manual glasses, I realized that the weight of the sigma is quite adequate. Moreover, with bodies like the D200 or Fuja S5pro, working with light lenses is not even as convenient as with heavier ones. And sigma rests quite comfortably on them. With small carcasses like the D5200, the bunch nods, but again it’s convenient to shoot. Even more convenient than on the Canon D650 with 24-70 2.8L or even 24-105 4L - the dimensions of the sigma seem much more modest.
Lack of stub. I still regret it, but I understand that the price would have increased significantly. And in general, 18mm with f3.5 (on a whale) and a stub are approximately equal to 18mm with f1.8 and without a stub in terms of shutter speed. So you can live.
Let's get back to the positives. A separate pleasant aspect of sigma 18-35 1.8 is the ability to work on ff. At the moment I do not have FF Nikon, but I do have FF Canon. Through an adapter I put on this sigma and get 28-35 1.8 per ff, which is simply awesome! Of course, a small vignette remains, but it can be corrected (at shorter focal lengths it cannot be corrected). In essence, it turns out to be a replacement for the 24-35 2.0 from the sigma, which is noticeably more expensive. Albeit with a loss at a short angle, but with a gain in money, and most importantly, in aperture ratio (1.8 versus 2, although not significant, is very pleasant).
I will also note the artistic value of glass. Fast aperture lenses are a very interesting combination. Covering a wide angle of view, you can blur the background, which looks extremely unusual. Taking a group portrait with 18mm blurring the background is worth a lot. The difference between the kit 18mm with 3.5 and these 18mm with 1.8 is very noticeable. In addition, with a small MDF lens you can blur the background into a mess, like on some 50 1.4. Can not wait New Year's holidays, to experiment with this glass to your heart's content - garlands, tinsel and all sorts of decorations taken from bokeh at a wide angle will be very original.
In conclusion, I will say that this lens calls into question the need for anything else in this focal range for a cropped camera. Nikon 35 1.8dh or Canon 24 2.8stm are now interesting only in size; expensive 28 and 24mm primes are becoming unnecessary. Amazing sharpness makes you forget even about longer zooms. The only noticeable problem is autofocus, but this problem can be solved with the help of a docking station if you only have one camera, or plan to use the lens on only one.
Thank you all for your attention, good luck with your shots.
The Sigma 18-35mm F1.8 DC HSM Art is the world's first zoom lens with a constant f/1.8 aperture. It is cropped and provides an EGF of 29-56 mm with Canon cameras and 27 - 52.5 mm with Nikon cameras. It is intended to equate cameras with APS-C sensors to full-frame, provided that the latest standard high-aperture zooms 24-70 mm with an f/2.8 aperture are used. Did Sigma succeed? - Read below.
Video review of Sigma 18-35mm f/1.8 DC HSM Art:
External qualities
Yes, he's big. 121 mm in length and 78 mm in diameter will not look harmonious on all cropped cameras. Yes, it's heavy. 810 grams is a lot for any fast zoom, and not just for a cropped one. With small cameras like Canon EOS 100D/1300D/750D/760D, Nikon D3300/D5500, this combination will noticeably nod forward, so you will need to hold the lens more than the camera. But you get used to it and after half an hour of shooting you don’t feel much discomfort. But from the outside it looks very presentable.
I really like the design concept of the entire line of Sigma Art Series lenses. Key Features, characteristic of all glasses in the series - impeccable assembly, high-quality materials that are pleasant to the touch, minimalism, stylish appearance, comfortable, informative and wide zoom and focus rings. The Sigma 18-35mm F1.8 DC HSM Art is no exception in this regard. The part of the body between the mount and the zoom ring is metal, and the central part is made of composite materials that are resistant to heat. The kit includes a petal plastic lens hood, which has notches on it, as if there was some kind of ring there too. This design perfectly complements the overall appearance. The manufacturer does not claim any dust or moisture protection, so owners should not use this glass in extreme shooting conditions. However, reliability is evidenced by the fact that the lens does not change its dimensions either when zooming or when focusing, unlike almost all standard high-aperture zooms. Naturally, the front lens doesn't rotate either, so you can use whatever polarizing and gradient filters you like. All this tells us that the lens is weakly susceptible to dust and other small particles being sucked into the structure. The automatic and manual focus switch will not accidentally change its position when carried in a case.
The HSM's built-in focusing motor is quiet and reasonably fast, although it does have to move a massive group of 17 lenses in 12 groups. You can’t call the lens a leader in terms of speed, but you wouldn’t dare call it slow either. Due to the large aperture ratio and, as a result, the small depth of field, the lens is at risk of back and front focus. If possible, be sure to choose the most suitable copy for your camera. If this is not possible, then there are three options for resolving this issue (if it arises at all): use in-chamber adjustment in older devices, or take it to service center and carry out professional mechanical adjustment (the most the best option). The last, average in efficiency, but convenient way to achieve focusing accuracy is to acquire a proprietary Sigma USB dock accessory, which connects to any modern Sigma lens and allows you to more accurately adjust the lens at different focal lengths using proprietary software. The cost of such a gadget is not that high - only $60. This option is especially relevant if you plan to purchase two or more Sigma lenses.
The diameter for the filter is 72 mm. The diaphragm is 9-bladed, with rounded edges, so you won’t see gears in the bokeh (see photo in the gallery). During automatic focusing, manual sharpening is always available.
Optical qualities
The detail of the Sigma 18-35mm F1.8 DC HSM Art is simply amazing. Already while viewing pictures on a PC, I repeatedly repeated the phrase: “Come on, it can’t be!” Well, you don’t expect that a zoom lens on a cropped 24-megapixel Canon EOS 760D sensor can produce such good sharpness right from the widest aperture. And this applies not only to the center of the frame, but also to the edges. As expected, in the 28-35 mm range the picture is inferior to shorter focal lengths. At f/1.8, detail is still good in the center, but satisfactory at the edges. To get a noticeable increase in clarity, it is enough to close down to f/2.2. At values of 18-24 mm in the center the sharpness is already immediately excellent with f/1.8, and at the edges it is simply good. Peak detail in any frame, both in the center and at the edges of the frame, is in the range of f/2.8 - f/4.0. Starting from f/5.6, the diffraction effect comes into play and the clarity of the images gradually decreases. In general, we have never seen such sharpness results during testing of any f/1.8 prime lens.
Distortion at the wide-angle position of the lens does not exceed my expectations from a fast premium zoom. They exist, they are sane, they can be treated well in Lightroom/Photoshop. That's all you need to know about them. See examples of shooting with the same composition at different focal lengths below.
18 mm, 1/500, f/1.8, ISO 100
24 mm, 1/750, f/1.8, ISO 100
35 mm, 1/1500, f/1.8, ISO 100
And these photographs have already been taken from one place on different FRs to understand the range.
18 mm, 1/180, f/1.8, ISO 100
24 mm, 1/250, f/1.8, ISO 100
35 mm, 1/180, f/1.8, ISO 100
Vignetting rates are simply ridiculous in the 18-24mm range. Consider it as if it doesn’t exist at all. At 28-35 mm, the darkening of the corners is much more noticeable, but can be easily corrected with in-camera correction in modern cameras, or with one click in Lightroom or Photoshop.
The lens copes well with backlit sun. Below are photographs at different focal lengths and apertures, where the microcontrast practically does not decrease due to the direct presence of the luminary in the frame.
Sigma 18-35mm F1.8 @19 mm, 1-2000 sec at f — 2.8, ISO 100_Canon 760D
Sigma 18-35mm F1.8 @18 mm, 1-750 sec at f — 4.0, ISO 100_Canon 760D
Sigma 18-35mm F1.8 @32 mm, 1-1500 sec at f — 4.0, ISO 100_Canon 760D
Sigma 18-35mm F1.8 @24 mm, 1-4000 sec at f — 1.8, ISO 100_Canon 760D
Sigma 18-35mm F1.8 @24 mm, 1-4000 sec at f — 2.8, ISO 100_Canon 760D
Even expensive top-end fast primes often suffer from strong and clearly visible chromatic aberrations at open apertures. But our experimental Sigma is not. The aberrations are so minuscule that they can in principle be neglected. It's huge Sigma advantage The 18-35mm F1.8 is ahead of competitive fast zooms and primes, especially when it comes to video shooting. After all, during video recording it is impossible to enable in-camera aberration correction, and at the post-processing stage such an optical defect is quite difficult to remove, and in some cases it is even a critical problem.
Working with Panasonic GH4
It’s no secret that to shoot videos on our 4 content sites - kaddr..com, the zaddrot channel and for video production at komandda.com we use Panasonic GH4 and G7 mirrorless cameras. For optics, we used Canon full-frame optics and a Metabones adapter for Micro 4/3 mount. Thus, we get a 2x crop due to the M4/3 matrix, a 0.71x crop due to the adapter, and a twofold increase in aperture ratio with any lens. But what happens if you mount the Sigma 18-35mm f/1.8 crop lens this way? I will answer you - you will see the light, because you will get the equivalent of focal lengths of 25-50 mm and a constant f/1.2 aperture throughout the entire range. Re-read the previous sentences again. Now let's continue. This range of DF is very universal in Everyday life and covers many of the tasks of a videographer-blogger. In those cases where 50 mm is not enough, the next noticeable step is already about 100 mm of EGF. The same goes for the wide-angle position. A noticeable difference will be for lenses from 15-16 mm EGF and wider. This aperture allows you to shoot in any lighting conditions without raising the ISO (which the GH4 and G7 do not really like in terms of noise). This also allows you to significantly blur the background, even at a wide-angle lens position. Naturally, detail at the widest aperture turns out to be worse than at f/1.8 - the picture is soft. In creative filming, this can even be a plus in order to create an unusual atmosphere and get beautiful picture. Apart from the lack of stabilization, the Sigma 18-35mm f/1.8 together with the Metabones adapter is the best solution in terms of a standard lens for Micro 4/3 system cameras.
Liked
Looks cool (IMHO)
Assembly
Well-implemented focus and zoom rings
Reference sharpness at all focal lengths and apertures
Low level of distortion in the range of 18-24 mm
Weak vignetting, especially after f/2
Unchangeable dimensions when zooming and focusing
Fast and quiet focusing motor
Glare resistance
Low level of CA at all focal lengths and apertures
The ability to get similar results on an APS-C camera to FF zooms
f/1.2 aperture and 25-50mm focal length with Metabones adapter on Micro 4/3 cameras
Adequate price
Greater weight and dimensions than we would like for an APS-C lens
You need to choose a copy without back/front focus, or buy a USB dock
No built-in stabilizer for video shooting
Gallery of pictures
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Sigma 18-35mm F1.8 @35 mm, 1-1500 sec at f – 1.8, ISO 100_Canon 760D
Sigma 18-35mm F1.8 @24 mm, 1-750 sec at f – 1.8, ISO 100_Canon 760D
Sigma 18-35mm F1.8 @18 mm, 1-500 sec at f – 1.8, ISO 100_Canon 760D
Sigma 18-35mm F1.8 @35 mm, 1-180 sec at f – 1.8, ISO 100_Canon 760D
Sigma 18-35mm F1.8 @24 mm, 1-250 sec at f – 1.8, ISO 100_Canon 760D
Sigma 18-35mm F1.8 @18 mm, 1-180 sec at f – 1.8, ISO 100_Canon 760D
good picture, sharpness, detail, nice blur
Minuses
lack of stabilizer, slow autofocus (subjective), misses in the dark
Review
At first glance, the zoom seemed short. After analyzing my photos, I realized that it would be a good replacement for a kit lens. The analysis showed that 70% were shot within the focal lengths of this lens, 25% were shot at 50 mm, only 5% from 50 mm to 135 mm. When testing it in the store, I felt it heavy, but gradually I got used to it, but I don’t feel it. In normal light the picture is amazing, the maximum aperture is working, I like the blur. There is a nuance: the aperture allows you to shoot in a dark room, but the lack of a stabilizer and the size of the lens do not allow you to set shutter speeds longer than 1/40 sec; to avoid “shake” you have to raise the ISO, after which noise appears. I shoot with a Canon 600D in the same conditions as with a whale “dark” lens, the aperture allows me to set more short excerpts, blurs the background well, with excellent detail, three-dimensionality, rich colors, and no aberrations. The disappointment that came after purchasing the camera from the faded photos of the kit lens has passed.
