Sigma notes when Digital Lens Optimizer, located within the EOS R settings menu, is switched to 'OFF' but peripheral illumination correction, chromatic aberration correction and distortion correction are turned on, those corrections will be made for each lens, specific to their optical characteristics. 'This is applicable to DG and DC lenses from Contemporary, Art and Sports line listed below which were released after March, 2018, or those of which firmware has been updated to Ver.2.0 or later,' says Sigma in the press release.

The Sigma-35mm has a large, maximum aperture of f/1.8. This translates into a brighter image and less noise when used wide open. In terms of light gathering capabilities, the f/1.8 aperture is roughly equivalent to f/2.8 on a full frame lens. This makes the low-light performance of the Sigma similar to Canon’s excellent 24-70mm f/2.8 for less money. That this lens does not meet my minimal focal length range desires for a general purpose lens is going to be overlooked by most – Small white plastic ball on the outside, and a red dot painted into an engraving in the lens mounting flange. Chromatic aberrations, typically seen as purple or blue fringes along contrasty edges, can be detected in some shots, but they are not very prominent at all. New cameras may or may not work with this lens, and off-brand lens makers only sometimes will update lenses to work on new model cameras.

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

Coma ( saggital coma flare) often causes weird smeared blobs to appear around bright points of light in the corners of fast or wide lenses at large apertures. In lenses that have it, coma goes away as stopped down. With the sun in the corner of the frame, the Sigma 18-35 shows very little flare from a wide open f/1.8 aperture. 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.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 Used Lenses for Mirrorless Cameras Used Lenses for Canon EOS R Used Lenses for Nikon Z Used Lenses for Sony Alpha Used Lenses for L-mount Used Lenses for Fujifilm X Used Lenses for Micro 4/3 Used Lenses for Canon EF-M Used Lenses for other Mirrorless Cameras In this box sits the lens inside a plastic bag which sits with the hood inside the case. The case is the padding - there is no foam. Let's start the review with a look at the focal length range as that is one of my primary criteria for lens selection.

I'd leave either a 72mm Nikon Clear (NC - UV) filter, a 72mm Hoya Alpha MC UV or bulletproof 72mm Hoya HD2 UV on the lens at all times. Another factor making the relatively short focal length range more palatable is the image quality this lens delivers. The Canon, Nikon and Sony mount versions of this lens will mount on full-frame DSLRs, and on Nikon cameras DX crop mode will be automatically selected (the camera will therefore shoot at reduced resolution). The rollover below shows the level of vignetting on full frame, with samples shot on a Canon EOS 6D through an Expodisc white balancing filter. The lens's image circle doesn't cover the 35mm full frame format fully at any focal length, giving severe vignetting at 18mm which decreases progressively on zooming in. There's still visible vignetting in the corners at 35mm, which doesn't entirely go away on stopping down, either. Nikon 35mm f/1.8 DX for a fraction of the price. On Canon, the classic professional Canon 35mm f/1.4 L is a steal today, and a much better long-term investment than this consumer zoom. Film & Darkroom Film Clothing Instant Printers & Consumables Ink Jet Printing Canon Ink Jet Printers Ink jet paper Service Plans & MoreThe 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 While this lens is designed to cover only an APS-C-sized camera sensor, this lens mounts and functions on a full frame DSLR. From this example, we can see that the 9-blade aperture delivers rather smooth out of focus highlights with a touch of bright edge.