Specifically for APS-C, I'd also buy the thoroughly professional Nikon 17-55mm f/2.8 or Canon 17-55mm f/2.8 IS long before I bought this Sigma lens - but that's just me. I'm the kind of guy who still takes my 12-year old used car to the original new-car dealer for service, because I like to keep everything original and authentic, not mixing off-brand parts on my nice car. We didn't experience much "hunting", either in good or bad light, with the lens accurately focusing almost all of the time. It's also a very quiet performer, thanks to the built-in HSM (Hyper Sonic Motor), which makes this lens well-suited to video recording.

Lens Filters Clear UV and Protection Filters Polarising Filters Neutral Density Filters Cokin Creative Filter System Other Filters Filter Stepping Rings Close-Up Lenses Being long on the wide end and short on the long end, 18-35mm still works well for many landscape photography uses. lens distortion filter. These aren't facts or specifications, they are the results of my research that requires hours of photography and calculations on the resulting data. The examples below show movie mode AF on the Canon EOS 100D, which allows refocusing on a new subject by touching the rear screen during recording. Its Hybrid AF system is also one of the better implementations of movie focusing on an SLR. Overall the Sigma does OK here, at least for an SLR lens that's primarily designed for stills photography. Focusing is pretty positive, but the motor can be heard in a quiet environment. Sample 1 - Quiet indoor environment I saw no coma with this aspherical lens! Whoo hoo; coma has always been the weak point of fast wide zoom lenses, and Sigma made it go away. As you can see in this photo, points of light stay as points. Bravo!Focus is silent, and you may grab the ring at any time for instant manual focus override. At least on the Nikon version I tried, Sigma finally has this figured out. Ghost resistance isn't very good by modern standards due to the less efficient coatings used by Sigma compared to professional-grade brands, but most of the time these ghosts are artistically quite helpful to communicate an enveloping sense of light:

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: The Sigma 18-35mm f/1.8 DC has fantastic optics — but its mechanics and potential camera incompatibility are why you pay less for Sigma than for professional Nikon or Canon lenses. All of the review-time-current Sigma Global Vision lenses have a really nice physical appearance with a feel that at least equals the look.

Contact

The Sigma 18-35mm f/1.8 DC HSM Art Lens has very smooth, perfectly-damped and ideally-sized zoom and focus rings that have no play in them. 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 This lens is too big and heavy for what it does, and its zoom range is foolish. 18-35mm is very useful for full-frame —but this lens can't handle full-frame; it only works from 28mm to 35mm on full-frame.