Sigma 18-200mm f/3.5-6.3 11 DC OS HSM Lens for Canon

Product Information

Being an "EF-S" lens, the 18-200 IS does not have the larger image circle size that a full-frame compatible "EF" lens has and therefore shows more vignetting My impression of the 18-200 is that the 6 rounded-blade aperture delivers OK but not great blur quality.

So I think both super zooms are really good for what it is, but 18mm on a 1.6X Canon body is not wide enough , so for a 1.6X Canon ,I usually need a EF-S10-22 with this EF-S18-200IS lens for travel but with my D300 , I just use the 18-200Vr or 16-85Vr with the cheap but sharp AF 85f1.8D and no need wider than the 18mm end of the AF-S18-200Vr or the 16mm end of the AF-S16-85VR , so I prefer traveling with my d300 when I have to travel light. The 50D and 18-200 in a Think Tank Photo Digital Holster 20 went with me everywhere and were not a burden. Likewise, the extraordinary Canon 70-200mm f/4 L IS will look better if you look at files at 100%, but it costs more, it's bigger and heavier, doesn't focus anywhere near as close, and hardly zooms at all.UPDATE: after posted this one , I read the previous poster's trashing this lens , and I thought he probably never used this lens in real life or he just got a bad copy. In any case , this lens is much better than that , it's AF very fast ,at least as fast as any other consumer grade lens in this price range and actually faster AFing than the Nikon super zoom , which I also have had for about 4 months. Below, you see an illustration of the worst-case distortion (at 18 mm) and the effect of correction in Lightroom (move your mouse over the image below and pay attention to the pole on the right-hand side). If you don’t photograph in RAW, then DxO Optics Pro can offer a solution where there are also lots of lens correction profiles available for jpg files.

After shooting several thousands of photos over the past two months, I have found the 'standard' of f8 through f11 to be the optimum aperatures across the entire focal range. No surprise there. But, you can still use a faster f stop with good results. Especially with the K10D which features a sensitivity shooting mode, and image stabilization is built in. This lens was a big surprise to me, after the Sigma 17-70 and the Canon 70-300IS I was bit worried but ... Compared to many other superzoom lenses, the Sigma 18-200mm f/3.5-6.3 DC Macro OS HSM is relatively compact. This makes it a great lens to have on your camera all the time as a walk around lens. For this test, we have paired it with the Canon EOS 750D and it works well, not overbalancing the camera at all. The lens hood provides more help at 18mm than 200mm (a 200mm-specific hood would severely vignette at 18mm), There is so much moving around as you zoom that it's more difficult to zoom if you point the lens directly up or down, since you now have to pull half the lens up or down with the zoom ring. If this is difficult for you, point the lens the other way first if it helps you zoom in (pointed down) or zoom out (point it up). It's no problem pointed horizontally.

Sigma 18-200mm f/3.5-6.3 DC Macro OS HSM Contemporary Specifications

This lens does it all for Canon's 1.6x consumer DSLRs. It focuses super fast, zooms from wide-angle to super-telephoto, and gets close enough for macro shots. It could be the only lens you ever need for most Canon DSLRs.

Zooming to 50mm results in a slight reduction of overall sharpness. At maximum aperture the clarity in the centre is still excellent and the quality towards the edges is good. Sharpness towards the edges increases gradually as the lens is stopped down with peak quality being recorded between f/5.6 and f/11 for this focal length. This view shows the somewhat unusual 'double trombone' mechanism which is used for moving the rear element on zooming. A petal-shaped hood is supplied as standard with the lens, which does a good job of protecting the front element from extraneous light that may cause unwanted flare and loss of contrast. During testing there were no issues with flare and contrast holds up well, even when shooting into the light. Flare is well-controlled overall, but shows up stronger at the longer end of the focal length range (where the lens hood is less effective). Weighing only 430g, this optic is lighter and slightly more compact than equivalent superzoom lenses from other manufacturers, and it is almost as small as many standard 18-55mm kit lenses. The lens balances well on the Canon EOS 7D body used for testing, and should also feel right at home on more compact entry-level camera bodies too.

Sigma 18-200mm f/3.5-6.3 DC User Reviews

I'd pitch the flat Canon cap that came with this lens new, and get a superior "pinch" type Nikon cap in 72mm (or 77mm), too. I'm not kidding: I really do use Nikon caps on my Canon lenses because they are much easier to use in the field. Three years after Nikon's 18-200mm VR, Canon finally has a do-everything lens for its 1.6x consumer DSLRs. With all respect to Canon, Canon has had the world's first 28-135mm IS lens for film and full-frame cameras since the 1990s, for which Nikon had no equivalent until Nikon's crummy 24-120mm VR of 2003.

The new product lines incorporate rubber for the attachment part of the provided lens hood. For better usability, the design of the lens cap and AF / MF changeover switch has been improved. This design works well in my opinion - it is very easy to find the part of the lens you will use most frequently. One design decision may however cause a degree of dismay; the lens uses a relatively unsophisticated micro motor system for autofocus, as opposed to the ring-type USM design more commonly seen on mid-range lenses such as the EF-S 17-85mm F4-5.6 IS USM. Consequently, potential buyers may struggle to find any obvious advantage over Tamron's recently announced 18-270mm F3.5-6.3Di II VC LD Aspherical (IF) Macro, which sports a longer zoom range and Tamron's own optical stabilization system. Aside from this, Canon have produced a lens which is clearly designed to counter the undeniable buyer appeal of Nikon's popular 18-200mm VR head-on; so how does it match up to the challenge? Headline features These trips gave me a very good opportunity to put the combination to use in the field along with typical use around home and testing in the studio. Apochromatic lenses have special lens elements (aspheric, extra-low dispersion etc) to minimize the problem, hence they usually cost more.As is typical of ''vacation'' lenses, the 18-200mm must be stopped down to achieve optimal performance, however, instead of the usual ƒ/8 benchmark the 18-200mm does well at ƒ/5.6 pretty much across the lens' range of focal lengths. At telephoto settings (>135mm) you'll see the lens' best performances at ƒ/8 or ƒ/11. Contrast holds up reasonably well shooting into the light - ISO500, 1/60, f/5.6, 40mm (35mm equiv – 64mm) The image is sharp. Inside camera sharpening (level 3 or 4) is sufficient to make the picture very sharp. Very good resolution, no flares, good color saturation. Another way to gauge the amount of distortion present at various focal lengths is to watch the top image in the