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Comparison Sigma 18-35mm f/1.8 Art HSM DC vs Sigma 18-50mm f/2.8 AF EX DC

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Sigma 18-35mm f/1.8 Art HSM DC
Sigma 18-50mm f/2.8 AF EX DC
Sigma 18-35mm f/1.8 Art HSM DCSigma 18-50mm f/2.8 AF EX DC
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Lens typewide angle
System
Canon
Nikon
 
Minolta
Pentax
 
Sony
 
Canon
Nikon
Olympus
Minolta
Pentax
Sigma
Sony
Panasonic
Mount
Canon EF-S
 
Nikon F
Pentax K
Sigma SA
Sony A
Canon EF-S
Four Thirds (4/3)
Nikon F
Pentax K
Sigma SA
Sony A
Specs
Focal length18 - 35 mm18 - 50 mm
Aperture valuef/1.8f/2.8
Viewing angles76.5º - 44.1º69.3° - 27.9°
Min. diaphragm1622
Minimum focus distance0.28 m0.28 m
Maximum zoom0.230.2
Design
Sensor sizeAPS-CAPS-C
Autofocus driveultrasonic drive motormotor
Internal focus
Design (elements/groups)17 elements in 12 groups15 elements in 13 groups
Number of diaphragm blades97
Filter diameter72 mm67 mm
Dimensions (diameter/length)79x122 mm74.1x84.1 mm
Weight810 g445 g
Added to E-Catalogjune 2015november 2006
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Sigma 18-35mm F18 Art DC HSM Lens for Canon Black 210101

F1.8 maximum aperture F16 minimum Ring-type ultrasonic-type AF motor with full-time manual focusing, 72mm filter size Mini... moremum focusing distance 28 cm/ 11.0 in. USB Dock compatible, MC-11 compatible. Available in Canon EF (EF-S), Sony Alpha (dot), Nikon f (DX) mounts 0.23 optical Zoom
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$625.00

Sigma 18-35mm f/1.8 DC HSM Art Zoom Camera Lens - Nikon 18-35MM-F1.8

Designed specifically for APS-C sized sensors, the 18-35mm f/1.8 DC HSM from Sigma is a innovative wide-angle to standard zoo... morem lens that's achieved a continuous, super-bright f/1.8 aperture. Now you can shoot from landscapes to portraits - product shots to architecture - still lifes to close-up photographs - as the internal focusing and zooming allows for more usability and functionality.Sigma’s already-legendary Art lenses are notable for their cutting-edge optical designs and rugged performance, making them ideal for the most creative and artistic applications. Relatively small in size for a fast f/1.8 lens, it measures 3.1” x 4.8” and weighs 28.6 oz. This Art lens has a constant aperture ranging from f/1.8 to f/16 and utilizes 9 diaphragm blades, the front accepts 72mm filters, along with a petal-shaped hood and caps that are included.Additional highlights include compatibility with Sigma’s USB Dock, allowing users to update the lens firmware and adjust various parameter, such as focus; while the Hyper Sonic Motor (HSM) ensures smooth, fast and accurate autofocusing. The use of Thermally Composite Material (TSC) reduces size and weight but increases accuracy of the lens construction. Its optics are made possible by a wide molded aspherical lens with special Low Dispersion (SLD) glass. SLD glass corrects for chromatic aberration and curvature at the widest angles.ApplicationsTypical Photography:TravelWedding & EventsPortraitFamilyFeaturesGreat for video productionUnique, fast constant aperture zoom lensFront & rear lens caps and lens hood is included with the lensSpecificationsCategory: Lenses, Wide Angle Lenses, USB Dock Compatible, MC-11 CompatibleClass: ArtLens Construction: 17 Elements in 12 GroupsAngle of View: 76.5º-44.2ºNumber of Diaphragm Blades: 9Mininum Aperture: f16Minimum Focusing Distance: 11.0 in / 28 cmFilter Size (mm): 72mmMaximum Magnifications: 1:4.3Dimensions:(Diameter x Length): 3.1 in x 4.8 in / 78mm x 121.0mmWeight: 28.6ozCorresponding Mounts:Sigma: HSM, DCNikon: HSM, DCCanon: HSM, DCPentax: HSM, DCSony: HSM, DCNOTES:HSM -Hyper-Sonic MotorDC - DC for Digital* The appearance, specifications, and the like of the product are subject to change for improvement without notice. Sigma 18-35mm f/1.8 DC HSM Art Zoom Camera Lens - Nikon.
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$799.00

Sigma 18-35mm F1.8 DC HSM Lens for Nikon 210306

Focal length: 18-35mm Aperture: f/1.8-16 Nikon F mount lens Nikon DX format 9-blade rounded diaphragm Special low dispersion... moreglass Hyper sonic motor ensures accurate autofocusing Internal focusing and zoom design USB dock compatible Super multi-layer lens coating
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$655.99

Sigma 18-35mm F1.8 DC HSM ART Lens with AF for Canon EF-Mount DSLR Cameras 210101 210-101

SIGMA 18-35mm F1.8 DC HSM - What makes a standard lens ideal for you? Certain important qualities are required, such as fast... moremaximum aperture, versatility for snap shots, portraiture and indoor photography plus a good combination of a wide range of focal lengths in a compact design. SIGMA 18-35mm F1.8 DC HSM is the first zoom lens ever to achieve a maximum aperture of f1.8 throughout the zoom range. It is a wide aperture, standard zoom-lens for digital single lens reflex cameras with APS-C size sensors. *1 The lens has a focal range equivalent to 27mm - 52.5mm in a 35mm format and it can cover the angles of view of multiple fixed focal length lenses. This wide aperture, standard zoom lens enables the photographer to expand creative possibilities on any occasion. *1 - As of April, 2013 Sigma's Art line delivers high-level artistic quality. Sigma is organizing all its interchangeable lenses into three product lines; Contemporary, Art and Sports. Designed with a focus on sophisticated optical performance and abundant expressive power, the Art line delivers high-level artistic expression. Developed with the maximum emphasis on artistic touch, they are designed to meet the expectations of users who value a creative, dramatic outcome above compactness and multifunction. Along with landscapes, portraits, still-life, close-up and casual snaps, they are perfect for the kind of photography that unleashes the inner artist. Ideal for studio photography, they offer just as much expressive scope when capturing architecture, starry skies, underwater shots and many other scenes. Excellent Usability. A zoom lens is very convenient as it offers various angles of view just by rotating the zoom ring. However, the down side was that no zoom lens ever offered a faster aperture than f2.8 which led photographers to select fixed focal length lenses for brighter images. While the aperture value of prime lenses is superior to zoom lenses, their field of view is always the same, and therefore it was always necessary to carry many fixed focal length lenses. SIGMA 18-35mm F1.8 DC HSM is a next generation lens that can deliver images at f1.8 aperture throughout its focal length. The bright viewfinder is very helpful for checking the focus and composition of the image. If it is compared with a lens of F2.8, the faster shutter speed and the shallow depth of field of F1.8 further expands creativity. From wide to standard range this lens offers the excellent versatility and performance of multiplefixed focal length lenses. Fruit of cutting edge technology. To achieve a wide zoom lens with a maximum aperture of f1.8, various technical problems need to be overcome. As the aperture value gets larger, the depth of focus becomes shallower, thus it makes the lens design extremely complicated in order to compensate for various distortions, such as spherical, axial chromatic and astigmatic aberration along with curvature of field. In order to compensate for astigmatic aberration across
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Sigma 18-35mm f/1.8 DC HSM ART Lens for Canon EF 210-101

The Sigma 18-35mm f/1.8 DC HSM Lens for Canon is a wide-angle to normal-length zoom lens that features a fast, bright constan... moret f/1.8 maximum aperture. It is specifically designed for use with APS-C-sized sensors and provides a 35mm-equivalent focal length range of 28.8-56mm.The lens integrates one aspherical element into its construction as well as Special Low Dispersion (SLD) glass to help minimize various aberrations and distortions throughout the zoom range as well as provide greater image sharpness and clarity. A Super Multi-Layer Coating has also been applied to lens elements to reduce surface reflections, lens flare and ghosting to produce images with higher contrast and color
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Lens type

General lens type. Note that this parameter is largely determined by the equivalent (not actual) focal length, but in the characteristics of optics, the actual value is most often indicated; see "Focal length" for more on this.

The type is not indicated for any optics, but only for models that have a pronounced specialization and clearly fit into a certain category. In addition to them, there are so-called universal lenses — see below about them. And specialized models can be of the following types:

Fix. This category on our website includes almost all lenses that do not provide the ability to change the focal length. These can be wide-angle models, and optics with a long focal length, providing a high degree of magnification, and models with average values; the only exception is the ultra-wide-angle fisheye, which is a separate type (see below). Due to the simpler design, fixes are usually cheaper and more reliable than similar zoom models. Their main disadvantage is the actual constant focal length. Because of this, when working with fixes, you have to have your own lens for each type of shooting, and zooming in / out of the image is carried out solely by moving the camera closer / farther relative to the object being filmed (in professional jargon — “zoom with your feet”).

Wide angle. Zoom lenses, the minimum value of which is up to 18 m...m inclusive, the maximum is up to 40 mm inclusive (both are in 35 mm equivalent). This provides a wide viewing angle with virtually no visible distortion (unlike ultra-wide-angle models, see below). "Wide angles" are often used for shooting landscapes, large objects, etc.; also, such a lens can be useful in tight conditions, where you need to capture the widest possible scene (for example, a large group of people), and the situation does not allow you to move far away.

Ultra wide angle. Also, this type of lens is called fisheye, or "fisheye". Their equivalent focal length is up to 17 mm inclusive, and viewing angles can reach 180° and even more, which allows capturing a very large area of the surrounding space in one picture (for example, the sky around the entire circumference of the horizon). Such lenses have noticeable distortion in the resulting image: the centre of the frame looks closer than the edges, and straight lines that do not pass through the centre of the frame become crooked. Because of this, fisheye optics got their name: the view through it is similar to how a fish sees the ground from under the water. Most often, fisheyes have a fixed focal length, but there are also zoom lenses. Such lenses are used, in particular, to create panoramas, shooting in confined spaces, as well as to provide artistic effects.

Tele. Lenses with a long focal length and, accordingly, a high degree of magnification, designed primarily for shooting at long distances. If we talk about specific numbers, then in our catalog telephoto lenses include models with a variable focal length, in which the lower limit of the focal length is at least 50 mm, and the upper limit is at least 200 mm. Such optics can be convenient, in particular, when shooting nature, sports competitions and mass events.

In addition to those described above, many lenses are produced that meet the criteria for several types at once or do not fit into any of them. Examples include, in particular, an intermediate option between wide-angle and telephoto lenses with a focal length of 24 to 55 mm, or a model with an extensive adjustment range like 28 – 200 mm, covering both of these types. Such lenses without specialization are called universal. In general, their scope is quite wide, and most of the optics supplied in the kit (kit) with SLR cameras belong to the mentioned “intermediate option”. However in terms of image quality, universal models are often inferior to specialized optics with a similar price; on the other hand, a set of several specialized lenses often costs more than a high-end "station wagon" with the same capabilities.

System

The system indicates which brand of cameras this lens is designed for. Manufacturers of photographic equipment often use original mounting systems in their cameras that are not always compatible with each other; therefore, for normal use, the lens must be originally designed for the corresponding system. At the same time, note that the actual compatibility will also depend on the mount (see "Bayonet (mount)"). At the same time, one system often includes several mounts (for example, Canon and Nikon); it happens vice versa — one mount can be used in several systems at once (for example, Micro 4/3 is used by both Olympus and Panasonic). In general, the optimal selection order is as follows: first clarify the compatibility of the lens with the system, then with a specific mount.

Also note that third-party manufacturers (who do not produce cameras and deal only with lenses) often produce models designed for several different systems at once. Such compatibility can be achieved both through a set of adapters (included in the package or sold separately), and through the release of different modifications of the same lens, differing only in mounts. The features of each such model should be specified separately.

Mount

The type of mount used to connect the lens to the camera. The name comes from the English "bayonet", meaning "bayonet" and a bayonet-type connection. Bayonet mounts are used in the vast majority of modern digital cameras due to their reliability and ease of use.

Full compatibility of the lens with the camera is guaranteed only if the types of their mounts match. Some mounts are compatible with each other via adapters, but such a connection can limit the capabilities of the lens (for example, it will make it impossible to use autofocus) and is generally not considered optimal. It is worth considering that within the same system (see above) different mounts are often used, which are also incompatible with each other.

So, the manufacturer Canon has mounts EF-M, EF-S, EF, RF, RF-S. Leica has Leica M, Leica SL, Leica TL. Nikon has Nikon 1, Nikon F, Nikon Z in its arsenal. Pentax optics are equipped with Pentax 645, Pentax K, Pentax Q. Samsung uses NX-M and NX mounts. Sony models include Sony A and Sony E. In addition, there are other types of mounts on the market - both branded ( Fujifilm G, Fujifilm X, Hasselblad H, Sigma SA) and universal ( Four Thirds (4/3), Micro 4/3).

Note that there are lenses that are declared compatible with several mounts at once. This “omnivorousness” can be realized in different ways. For example, some models have a non-standard mount on the lens body, and compatibility with various mounts is ensured through the use of adapters; These adapters can be included in the delivery set or purchased separately. Another option is that the lens is available in several separate modifications, each for its own mount. These details should be clarified before purchasing.

Aperture value

Lens aperture is a characteristic that determines how much the lens attenuates the light flux passing through it. It depends on two main characteristics — the diameter of the active aperture of the lens and the focal length — and in the classical form is written as the ratio of the first to the second, while the diameter of the active aperture is taken as a unit: for example, 1 / 2.8. Often, when recording the characteristics of a lens, the unit is generally omitted, such a record looks, for example, like this: f / 1.8 or f/2.0. At the same time, the larger the number in the denominator, the smaller the aperture value: f / 4.0 lenses will produce a darker image than models with f / 1.4 aperture.

Zoom lenses usually have different aperture values for different focal lengths. In this case, the characteristics indicate two aperture values, for the minimum and maximum focal lengths, respectively, for example: f / 4.5-5.6

The larger the aperture of the lens, the shorter shutter speeds it allows you to use when shooting. This is especially important when shooting fast-moving subjects, shooting in low light, etc. And if necessary, the light stream transmitted by the lens can be weakened using a diaphragm (see below).

Another point that directly depends on this indicator is the depth o...f field (the depth of space that is in focus when shooting). The higher the aperture, the smaller the depth of field, and vice versa. Therefore, shooting with artistic background blur (bokeh) requires high-aperture optics, and for a large depth of field, you have to cover the aperture.

Viewing angles

This parameter determines the size of the area of the scene being shot that falls into the frame. The wider the viewing angles, the larger the area the lens can capture in one shot. They are directly related to the focal length of the lens (see "Focal length"), and also depend on the size of the specific matrix with which the optics are used: for the same lens, the smaller the matrix, the smaller the viewing angles, and vice versa. On our website, in the characteristics of optics, viewing angles are usually indicated when used with the matrix for which the lens was originally designed (for more details, see "Matrix Size").

Min. diaphragm

Aperture is a design of several blades-curtains, which allows, if necessary, to reduce the diameter of the active aperture of the lens, actually reducing its aperture (for more details, see "Aperture"). In addition to reducing the light output (which can be relevant, for example, in bright sunlight), closing the aperture has another effect — it increases the depth of field. In other words, “in focus” is a larger volume of space than with an open aperture.

The values on the aperture scale are usually selected from a standard range. The numbers in it actually indicate what aperture the lens will have when the aperture is closed to a given value: for example, an aperture value of 5.6 will correspond to f / 5.6 aperture. The larger the number indicating the minimum aperture value, the more options the photographer has and, accordingly, the possibilities for setting the shooting mode (ceteris paribus).

Maximum zoom

The degree of magnification of the object being shot when using a lens for macro shooting (that is, shooting small objects at the maximum possible approximation, when the distance to the subject is measured in millimetres). The degree of magnification in this case means the ratio of the size of the image of the object obtained on the matrix of the camera to the actual size of the object being shot. For example, with an object size of 15 mm and a magnification factor of 0.3, the image of this object on the matrix will have a size of 15x0.3=4.5 mm. With the same matrix size, the larger the magnification factor, the larger the image size of the object on the matrix, the more pixels fall on this object, respectively, the clearer the resulting image, the more details it can convey and the better the lens is suitable for macro photography. It is believed that in order to obtain macro shots of relatively acceptable quality, the magnification factor should be at least 0.25 – 0.3.

Autofocus drive

A type of drive that ensures the movement of lens structural elements during automatic focus. Currently, the following types can be used:

Ultrasonic motor. The most advanced type of drive to date. Ultrasonic motors are much faster than conventional motors, provide higher accuracy, consume less power and are virtually silent. However, their cost is quite high.

Stepper motor. Drive control focal length and zoom (zoom). This type of motor is used for the most part only in full-size digital cameras. Among the advantages of a stepper motor, one can note: high reliability and accuracy of operation; in addition, it does not require power supply to maintain focus and zoom. Of course, stepper motors are not without drawbacks. Among the minuses can be identified: slow speed and increased noise. Additionally, a stepper motor is characterized by large dimensions and a rather large weight, which physically does not allow this type of drive to be integrated into the optics of mobile phones and ultra-compact cameras.

— Motor. In this case, an electric motor of a traditional design is meant. Such drives are simple and, as a result, inexpensive. Their disadvantages are the relatively low speed of operation, as well as the noise produced during this; the latter can sometimes be critical — for example, when shooting wildlife. Recently, designers have been us...ing various tricks to neutralize these shortcomings, but in general, the characteristics of conventional motors still remain relatively modest.

— Is absent. The complete absence of an autofocus motor in the lens. Focus such optics can be carried out either by the “screwdriver” system, or strictly manually (for more details on both options, see below).

Design (elements/groups)

The number of elements (in fact, the number of lenses) included in the design of the lens, as well as the number of groups in which these elements are combined. Usually, the more elements provided in the design, the better the lens handles with distortions (aberrations) when light passes through it. On the other hand, numerous lenses increases the dimensions and weight of the optics, reduces light transmission (for more details, see "Aperture") and also puts forward increased requirements for the quality of processing, which affects the cost of the lens.
Sigma 18-35mm f/1.8 Art HSM DC often compared
Sigma 18-50mm f/2.8 AF EX DC often compared