Sigma 885101 18-200mm F/3.5-6.3 DC OS HSM Lens for Canon, Black

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By 24mm, lines are nearly straight again, but pincushion distortion sets in by 28mm and gets relatively strong by 50mm through 200m. The Sigma 18-200mm f/3.5-6.3 DC Macro OS HSM lens shows a good resistance to chromatic aberrations, but it’s possible to see it occurring in some high contrast areas of images. Generally speaking, it’s not enough to be problematic for average printing or web sizes, being really only particularly visible when examining an image at 100%. EF-S 18-55 IS; 18-200 has a better focus control, but has vignetting, same IQ, 18-55 is better at 18mm

Seeking the best printer for your business? Hit your productivity targets with inkjet and laser printers that are a perfect fit for any workspace – including home offices. I had some bad experience with superzooms before, Sigma 18-200 was very soft, Tamron had a inaccurate focus and was soft at 200mm, sold them after 200-300 pictures. Finally at 200mm, good sharpness in the centre is still maintained at maximum aperture and fairly good sharpness levels towards the edges. Peak quality across the frame is attained at f/8 for this focal length and good sharpness across the frame is achieved. The quality of walk-around lenses is currently high enough for a large group of amateur photographers. It surprises me again every time how large the zoom range is and how similar the various 18-200 mm zooms are in terms of image quality and build quality. They’re also getting a bit better, but that applies for the more expensive lenses as well.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. The scale on the left side is an indication of actual image resolution. The taller the column, the better the lens performance. Simple.

High zoom ratio lenses like this Canon optic are often a compromise regarding optical quality. For a lens of this type, the performance holds up very well. Build quality feels good (I like the material of it, and its weight gives a good feeling) but it is subject to zoom creeping when held almost vertically, especially with the hood on. Another way to gauge the amount of distortion present at various focal lengths is to watch the top image in theComparing the test results of the lenses, it's fairly close, but if you peep the pixels closely enough the Canon offers slightly sharper results, especially at the telephoto end. For resistance to chromatic aberration, again, it's a very close call, but in this case it's just slightly better on the Nikon. Corner shading is slightly less of a factor on the Canon, and both lenses share the odd distortion characteristics associated with vacation lenses. The other switches are to switch OS (optical stabilisation) on or off, and to switch between AF (autofocus) and MF (manual focus). Both of the switches have a good degree of stiffness to ensure that you won’t accidentally push the switches in either direction when you don’t want to. 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 Enjoy high quality performance, low cost prints and ultimate convenience with the PIXMA G series of refillable ink tank printers.

Any FL range over 5x (max FL/min FL) raises a warning flag in my mind - you just know that there will be at least some optical deficiencies. 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).

Canon don't supply lenses at this level with a lens hood, which is a shame as the optional EW-78D petal shaped hood would be a welcome addition. Even without a hood, this optic seems reasonably resistant to flare and loss of contrast caused by strong light sources just outside the frame although the lens does seem more susceptible to flare at 200mm than 18mm. Shooting into the light can cause a loss of contrast, especially at 200mm. I know many L snobs say this is a junk lens but I guess they never ever shoot in Burma or Cambodia with a white lens , to see how the local people there react to their white Ls. If I was working in nasty, dirty areas, I'd forget the cap, and use an uncoated 72mm Tiffen UV filter instead (or in 77mm). Uncoated filters are much easier to clean, but more prone to ghosting. At the smallest focal distance, you get a nice amount in the frame, although you get some distortion in the bargain.

This lens was a big surprise to me, after the Sigma 17-70 and the Canon 70-300IS I was bit worried but ... Compatibility: The EF-S 18-200mm IS only works on Canon small-format 1.6x digital cameras, like all the digital Rebels and 20D, 30D, 40D and 50D. It won't even mount on film, 1.3x or full-frame cameras. It will not mount on the older D30, D60 or 10D either.Build quality seems quite good. It has a pretty solid feel, more like metal than plastic although I guess there is a lot of plastic in there, and mine has survived a horrifying drop about 3 feet onto a linoleum floor while mounted on the D70. It landed partly on the lens, which does not seem to have been affected at all (and neither was the D70). 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) Take complete creative control of your images with PIXMA and imagePROGRAF PRO professional photo printers.