Sigma 50100mm F18 Dc Hsm Art for Nikon Sample Images

The Sigma fifty-100mm F1.viii DC HSM Art ($i,099) is a premium telezoom lens, aimed at photographers working with APS-C SLRs. It's designed around the aforementioned principle as the standard 18-35mm F1.viii DC HSM Art ($675.00 at Amazon) zoom, and is probable to entreatment to the aforementioned demographic. Information technology'south a brilliant lens, maintaining an f/one.eight aperture throughout its range, that makes no compromises on epitome quality compared with shooting prime number lenses. That requires quite a bit of glass, and when coupled with a tough build you've got a big, hefty lens. It omits image stabilization and is on the pricey side, merely optical performance is superb. Information technology's an excellent option if you lot're in the market for a wide-aperture telezoom for your APS-C SLR.

Design

The l-100mm F1.8 ($675.00 at Amazon) is a big lens. Information technology measures 6.7 past iii.7 inches (Hd), weighs 3.iii pounds, and supports 82mm front end filters. The butt is a mix of metal and polycarbonate, with a metallic tripod neckband that rotates and locks into position every xc degrees. A reversible lens hood is included, along with front and rear caps and a conveying pouch.

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The overall packet feels pro-form, and the heft means it's best paired with a higher end APS-C SLR. Entry-level bodies similar the Nikon D3400 ($675.00 at Amazon) are typically small and light, and won't pair well with a large, heavy lens like the fifty-100mm. But the 50-100mm is a fine lucifer for larger bodies like the Canon 80D ($675.00 at Amazon) and Nikon D500 ($675.00 at Amazon) . Sigma sells the 50-100mm for Catechism, Nikon, and Sigma SLRs. Pentax and Sony versions are not bachelor at this time.

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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 total-frame system. That's not a lens you lot usually see—pro-grade total-frame zooms are typically 70-200mm designs, similar the Canon EF seventy-200mm f/2.8L IS Ii USM ($675.00 at Amazon) .

I didn't find myself missing the boosted telephoto attain, simply I wish that Sigma had somehow been able to add some wide-angle coverage to the zoom. For the right photographer, the l-100mm could pair with the Sigma 18-35mm every bit a solid two lens kit, and if the wide end of the 50-100mm was closer to the 35mm mark, you could cutting down on lens changes in the field. That said, if you lot're an event photographer working with a two camera kit and haven't moved to a full-frame system, the l-100mm is a fine option for portraits.

The lens has two control rings, i to conform the zoom and another to focus manually. Its zoom is internal, so there's no extension when adjusting the focal length. The zoom ring is covered in textured safety, sits at the middle of the barrel, and is marked at 50, lx, 70, 85, and 100mm.

The manual focus ring is finished in the aforementioned texture, and located just behind the forepart chemical element. Information technology focuses to 3.1 feet (0.95-meter), which captures images at upwards to i:6.7 magnification. It's definitely not a macro design; if that's what y'all're later on, y'all may desire to consider pairing it with the Sigma 17-70mm F2.8-4 DC Macro Os HSM ($675.00 at Amazon) , as at that place aren't a lot of telezooms out there with strong macro capabilities.

Image Quality

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

At 50mm f/ane.8 the lens scores ii,236 lines per film height on Imatest's center-weighted sharpness test, improve than the 1,800 lines we look for in an image. Image quality is fairly consistent from edge to border, with the periphery of the frame lagging behind the boilerplate score by nearly 200 lines.

In that location'southward a pocket-size improvement at f/2 (2,412 lines), and more palpable increases at f/2.8 (ii,512 lines), f/4 (2,539 lines), and f/5.6 (2,519 lines). Diffraction cuts into sharpness at narrower settings, starting at f/viii (2,414 lines). But it's only an issue of note at f/xi (ii,177 lines) and f/xvi (1,780 lines).

The lens isn't quite as crisp at 75mm f/one.viii—it shows 2,062 lines there, with edges that are merely higher up our sharpness cutoff (ane,861 lines). In that location'due south small improvement at f/2 (2,139), but both the average (2,473 lines) and edge (2,112 lines) scores show more than significant gains at f/2.eight. The lens continues to improve at f/four (two,579 lines) and f/v.6 (ii,594 lines), before dropping in fidelity at f/8 (2,480 lines), f/11 (2,219 lines), and f/sixteen (1,833 lines).

At 100mm f/1.8 the zoom scores ii,214 lines on the center-weighted evaluation, with potent operation right up to the edges of the frame (2,062 lines). As with wider focal lengths, there's comeback as yous cease downwardly—2,254 lines at f/ii, 2,464 lines at f/ii.8, 2,580 lines at f/4, and 2,595 lines at f/5.6. Nosotros see the same drop-off as you narrow the discontinuity further to f/8 (ii,505 lines), f/11 (two,240 lines), and f/16 (1,860 lines).

Distortion is well controlled. There's less than one percentage visible at 50mm and 75mm. Yous do get about i.iv percent pincushion baloney at 100mm, which will give straight lines a slight inwardly curved appearance. It'due south not enough to be consequential for most images, but architectural photographers should make sure to apply a profile correction to images in Lightroom ($675.00 at Amazon) in order to eliminate the pocket-sized distrotion.

Corners are dim, well-nigh two.2 stops (-2.2EV) behind the center of the paradigm, at f/i.8, throughout the zoom range. The deficit is cut to about -1.5EV at f/two and is not at all relevant in field conditions at narrower apertures. The slight vignette effect can also be corrected in Lightroom, either via a lens profile or via the vignette control.

Conclusions

The Sigma l-100mm F1.eight DC HSM Art is a lens that is without a lot of competition. Most APS-C telezooms are narrow discontinuity designs, similar the mutual 55-300mm f/3.5-five.six variety bundled with entry-level SLR kits. Zooms that step upwards the quality from kit options are typically broad or standard bending designs, as the size and weight advantage is more meaning at that cease of the spectrum.

So the 50-100mm stands alone in the market. Its wide aperture pattern gives you just about as much control over depth of field when shooting with an APS-C camera every bit y'all would get with a comparable f/2.eight zoom on a full-frame arrangement. It's a first-class performer, although 1 that comes without image stabilization and doesn't offer quite every bit much coverage range as we'd like to meet. But if you're defended to an APS-C SLR system, and are looking for a short telezoom to cover events and give you some freedom in framing portraits, the fixed f/1.8 blueprint and excellent sharpness delivered by the the Sigma 50-100mm are very appealing.

Cheers to Lensrentals for supplying the lens for this review.

Sigma 50-100mm F1.8 DC HSM Art

The Lesser Line

The Sigma 50-100mm F1.eight DC HSM Fine art is an appealing lens for APS-C SLR owners who want a bright telezoom, only 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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