Sigma 18-50mm f2.8 DC DN Contemporary Lens Review
Sigma 18-50mm f2.8 DC DN Contemporary Lens
When I purchased my Sony A6100 back in November 2019, I also bought two kit lenses: the Sony 16-50mm and the Sony 55-210mm. Both of these lenses have their advantages and disadvantages, and over time, I learned how to get the best performance out of each of them. After acquiring the Sony A6700 last year, I felt it was time to begin upgrading from the standard kit lenses in order to enhance my photography and videography capabilities.
My first upgrade choice was to replace the Sony 16-50mm lens, as I needed greater flexibility for shooting both photos and videos—specifically the ability to capture wide-angle shots and then zoom in when necessary. The two APS-C lenses I began researching were the Sigma 18-50mm f2.8 DC DN Contemporary lens and the Tamron 17-70mm f/2.8 DI III-A VC RXD lens.
I spent many hours comparing these two lenses by searching online for reviews and watching numerous YouTube videos to better understand the differences. The Tamron lens was around $100 more expensive and offered 20mm extra zoom reach, along with the benefit of image stabilization. However, it was larger and weighed about 200 grams more than the Sigma. Ultimately, I chose the Sigma lens despite its lack of image stabilization because I knew I could rely on the in-body stabilization of my camera. Though it had slightly less zoom range, stopping at 50mm instead of 70mm, the Sigma also offered the advantage of macro capability with a magnification ratio of 1:2.8 and a minimum focusing distance of just 12.1cm. In contrast, the Tamron's minimum focus distance is 19cm, which made the Sigma more appealing for close-up work.
Koromiko Flower -Aperture f11, SS 1/1600s, ISO 800
Sigma’s 18-50mm APS-C mirrorless zoom lens offers a versatile full-frame equivalent zoom range of 27-75mm, making it an excellent choice for a wide variety of photo and video applications. Whether you are shooting landscapes, portraits, street photography, architecture, or events, this lens has the flexibility to meet your needs. Its bright f/2.8 aperture not only allows for easier hand-held shooting in low-light conditions but also creates a pleasing shallow depth-of-field, delivering high-impact and professional-looking results. The autofocus system is exceptionally fast and quiet, powered by a stepping motor, which makes the lens perfect for use in quiet environments, recording smooth videos, and capturing fast-moving subjects with precision. Additionally, the lens supports advanced camera features such as bird eye autofocus and focus tracking, enabling it to quickly and accurately lock onto the subject’s eyes, ensuring sharp and well-focused images.
Muscovy Duck -Aperture f5.6, SS 1/200s, ISO 800
There are two adjustable rings on the lens. The larger ring, located near the front element, is the zoom ring. It is very easy to operate and moves smoothly with a comfortable resistance. The smaller ring, positioned closer to the base of the lens, is the focus ring. Since I am more accustomed to having the focus ring near the front element of the lens, I find that having it near the base reduces the likelihood of accidentally shifting the focus while making fine adjustments to the composition using the zoom ring.
The filter thread on the front element of the lens is 55mm in diameter. I had previously purchased ND filters for my larger lenses, which have a 62mm thread. It has been somewhat challenging to find a 55-62mm step-up ring that fits perfectly and is readily available. So far, I have only found one retailer in New Zealand that can supply this specific size of step-up ring, but even then, the delivery time is an additional two weeks because it would have to be sourced from their supplier. I will need to do some more research and consider different options for purchasing a suitable 55-62mm step-up ring to make the filters compatible across my lenses more easily.
Picton Forehore -Aperture f11, SS 1/250s, ISO 100
When capturing video footage, I was specifically looking for a zoom lens that provided a smooth transition between focal lengths while maintaining consistent autofocus as I zoomed in and out during recording. The Sigma 18-50mm f2.8 DC DN Contemporary Lens didn’t disappoint in this regard, delivering seamless zoom performance and reliable focus tracking. Initially, I was concerned about shooting handheld video footage without image stabilization built into the lens itself, fearing it might result in shaky, unusable clips. However, by enabling the camera’s in-body image stabilization (IBIS) set to active mode, I was able to achieve significantly more stable and professional-looking footage. The small video below demonstrates footage captured entirely handheld, showcasing the lens and IBIS working together effectively.
After owning and using the Sigma 18-50mm f2.8 DC DN Contemporary Lens for nearly two months, I’m very happy with both the performance and the impressive quality of the images the lens produces. Over the last couple of years, my preferred lens for landscape photography has been the Sony 35mm f1.8 lens. I really appreciate the 35mm focal length and the beautiful images that lens creates. However, since I started using the Sigma 18-50mm Lens, I’ve enjoyed experimenting with the various focal lengths it offers, which has allowed me to create a wider range of styles and perspectives in my landscape photos. My next step will be upgrading my Sony 55-210mm lens, and once that’s done, my lens setup will feel complete and versatile enough for all my photography needs.
Pollard Park, Blenheim -Aperture f11, SS 1/6s, ISO 50