Sigma 50100mm F18 Dc Hsm Art Ef Mount Lens for Canon

The Sigma 50-100mm F1.viii DC HSM Art ($1,099) is a premium telezoom lens, aimed at photographers working with APS-C SLRs. It'southward designed around the same principle equally the standard xviii-35mm F1.8 DC HSM Fine art ($675.00 at Amazon) zoom, and is likely to appeal to the same demographic. Information technology'south a bright lens, maintaining an f/1.8 aperture throughout its range, that makes no compromises on image quality compared with shooting prime lenses. That requires quite a fleck of glass, and when coupled with a tough build you've got a big, hefty lens. Information technology omits epitome stabilization and is on the pricey side, but optical performance is superb. It's an first-class pick if you're in the market for a broad-discontinuity telezoom for your APS-C SLR.

Design

The fifty-100mm F1.8 ($675.00 at Amazon) is a big lens. It measures half-dozen.7 past three.7 inches (Hd), weighs 3.iii pounds, and supports 82mm front filters. The barrel is a mix of metal and polycarbonate, with a metal tripod collar that rotates and locks into position every xc degrees. A reversible lens hood is included, along with forepart and rear caps and a carrying pouch.

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The overall package feels pro-course, and the heft means it'south best paired with a higher terminate APS-C SLR. Entry-level bodies like the Nikon D3400 ($675.00 at Amazon) are typically small and light, and won't pair well with a big, heavy lens like the 50-100mm. Merely the 50-100mm is a fine friction match for larger bodies like the Catechism 80D ($675.00 at Amazon) and Nikon D500 ($675.00 at Amazon) . Sigma sells the 50-100mm for Canon, Nikon, and Sigma SLRs. Pentax and Sony versions are non available at this fourth dimension.

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When paired with an APS-C camera the lens covers a field of view roughly equivalent to a 75-150mm zoom on a full-frame system. That'south not a lens you lot usually encounter—pro-course full-frame zooms are typically 70-200mm designs, like the Canon EF 70-200mm f/2.8L IS II USM ($675.00 at Amazon) .

I didn't find myself missing the boosted telephoto reach, but I wish that Sigma had somehow been able to add together some wide-angle coverage to the zoom. For the correct photographer, the 50-100mm could pair with the Sigma xviii-35mm as a solid two lens kit, and if the broad end of the 50-100mm was closer to the 35mm marking, you could cut down on lens changes in the field. That said, if yous're an consequence photographer working with a 2 camera kit and haven't moved to a total-frame system, the 50-100mm is a fine option for portraits.

The lens has two command rings, one to adjust the zoom and some other to focus manually. Its zoom is internal, so there's no extension when adjusting the focal length. The zoom band is covered in textured rubber, sits at the center of the barrel, and is marked at 50, 60, lxx, 85, and 100mm.

The transmission focus ring is finished in the same texture, and located just behind the front element. It focuses to 3.ane feet (0.95-meter), which captures images at up to 1:6.7 magnification. It's definitely non a macro design; if that'south what you're after, y'all may want to consider pairing it with the Sigma 17-70mm F2.8-4 DC Macro Bone HSM ($675.00 at Amazon) , as there aren't a lot of telezooms out there with strong macro capabilities.

Prototype Quality

I tested the l-100mm with the 20MP Canon EOS 7D Mark II ($675.00 at Amazon) . Focus is very quick—the 50-100mm takes advantage of the 7D's high-speed shooting capabilities. Our test copy of the l-100mm was slightly off in focus when working at the 100mm stop of the range, but a quick adjustment with the Sigma USB Dock ($675.00 at Amazon) resolved the upshot. The USB Dock is an cheap accessory that lets you lot fine-melody performance of select Sigma lenses.

At 50mm f/i.8 the lens scores 2,236 lines per movie height on Imatest's center-weighted sharpness examination, improve than the one,800 lines nosotros look for in an epitome. Image quality is fairly consistent from edge to edge, with the periphery of the frame lagging behind the average score by about 200 lines.

There'south a modest improvement at f/two (2,412 lines), and more palpable increases at f/two.8 (2,512 lines), f/four (2,539 lines), and f/v.6 (2,519 lines). Diffraction cuts into sharpness at narrower settings, starting at f/viii (2,414 lines). But information technology'south just an outcome of annotation at f/eleven (2,177 lines) and f/16 (one,780 lines).

The lens isn't quite as well-baked at 75mm f/1.8—it shows 2,062 lines at that place, with edges that are just higher up our sharpness cutoff (i,861 lines). There's modest comeback at f/two (2,139), but both the average (2,473 lines) and edge (2,112 lines) scores evidence more significant gains at f/ii.8. The lens continues to improve at f/iv (ii,579 lines) and f/5.six (2,594 lines), before dropping in allegiance at f/8 (2,480 lines), f/eleven (2,219 lines), and f/xvi (1,833 lines).

At 100mm f/1.8 the zoom scores 2,214 lines on the center-weighted evaluation, with strong performance correct upwards to the edges of the frame (2,062 lines). As with wider focal lengths, there'due south improvement as you lot terminate downwards—two,254 lines at f/ii, ii,464 lines at f/ii.8, 2,580 lines at f/4, and 2,595 lines at f/five.half-dozen. We see the aforementioned driblet-off as y'all narrow the discontinuity further to f/eight (two,505 lines), f/11 (2,240 lines), and f/xvi (i,860 lines).

Distortion is well controlled. There'south less than 1 percent visible at 50mm and 75mm. Y'all practice get about ane.four percent pincushion distortion at 100mm, which will give straight lines a slight inwardly curved appearance. It'south not plenty to be consequential for virtually images, merely architectural photographers should make sure to utilise a profile correction to images in Lightroom ($675.00 at Amazon) in order to eliminate the pocket-size distrotion.

Corners are dim, about ii.two stops (-2.2EV) behind the middle of the paradigm, at f/i.viii, throughout the zoom range. The deficit is cut to nigh -i.5EV at f/2 and is not at all relevant in field conditions at narrower apertures. The slight vignette issue tin too be corrected in Lightroom, either via a lens profile or via the vignette control.

Conclusions

The Sigma fifty-100mm F1.eight DC HSM Art is a lens that is without a lot of competition. Most APS-C telezooms are narrow discontinuity designs, like the common 55-300mm f/3.v-v.6 variety bundled with entry-level SLR kits. Zooms that step upwards the quality from kit options are typically wide or standard angle designs, every bit the size and weight advantage is more significant at that stop of the spectrum.

And so the 50-100mm stands solitary in the marketplace. Its wide aperture design gives you just about as much control over depth of field when shooting with an APS-C camera as you would get with a comparable f/ii.8 zoom on a total-frame arrangement. It's a excellent performer, although i that comes without prototype stabilization and doesn't offering quite as much coverage range as nosotros'd like to see. But if you're dedicated to an APS-C SLR system, and are looking for a curt telezoom to cover events and requite you some liberty in framing portraits, the fixed f/1.8 design and first-class sharpness delivered by the the Sigma 50-100mm are very appealing.

Thanks to Lensrentals for supplying the lens for this review.

Sigma 50-100mm F1.8 DC HSM Fine art

The Bottom Line

The Sigma fifty-100mm F1.8 DC HSM Fine art is an appealing lens for APS-C SLR owners who want a bright telezoom, merely information technology'southward on the pricey side.

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Source: https://www.pcmag.com/reviews/sigma-50-100mm-f18-dc-hsm-art

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