The Sigma 18-50mm f/2.8 DC DN | C (stands for Contemporary) is, first and foremost, Sigma's debut lens for the Canon RF mount. Without going into all the politics and restrictions put on third-party lens companies, we've waited six years for the first RF Sigma lens, and the wait has been worth it - provided you're an APS-C Canon EOS R mirrorless camera user.
That's because the Sigma 18-50mm f/2.8 is specifically an RF-S lens. Which means that, while you can use it on full-frame EOS R cameras in crop mode, it has been designed for APS-C bodies like the Canon EOS R7, R10, R50 and R100.
With an equivalent focal length of 28-80mm, weather sealing and a constant f/2.8 aperture, this is essentially a standard trinity lens for Canon's APS-C cameras - and thanks to Sigma's incredible engineering, it's barely bigger than one of those tiny cans of tonic you get for mixing cocktails.
All this does come with some optical compromises, though whether you'll really notice them is another matter.
Right now, it doesn't have any direct competitors, with the closest alternative being the Canon RF-S 18-45mm f/4.5-6.3 IS STMtypically sold as a kit lens with APS-C EOS R bodies, and selling for a lower price of £339, compared with £479 for Sigma's faster 18-50mm f/2.8 lens.
Denne historien er fra October 2024-utgaven av PhotoPlus : The Canon Magazine.
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Denne historien er fra October 2024-utgaven av PhotoPlus : The Canon Magazine.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
Allerede abonnent? Logg på
The Art of Copying Art - James Paterson shows you how to use your Canon gear to capture artwork and paintings the right way with simple camera and lighting skills
Whether you want to capture a painting like the above, digitise old prints or reproduce any kind of canvas, there's real skill in capturing artwork with your camera. Not only do you need the colours to be accurate, you also need to master the spread, angle and quality of the light to minimise glare and show the work at its best.This painting by the artist Bryan Hanlon has a wonderfully subtle colour palette. To reproduce the painting in print and digital form, it needs to be captured in the right way.
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