Sigma 18-35 Vs Sigma 35Mm: The Ultimate Lens Battle

Hey, friends! As a photographer who’s been at this for years, I’m thrilled to sit down with you—imagine us grabbing coffee—and dive into a comparison of two stellar lenses: the Sigma 18-35mm f/1.8 DC HSM Art and the Sigma 35mm f/1.4 DG HSM Art. These lenses are game-changers for APS-C camera users, and I’ve used both extensively. Whether you’re shooting landscapes, portraits, or street scenes, I’ll walk you through their strengths to help you decide which fits your vibe.

In this article, I’ll cover their build, image quality, versatility, and performance in real-world scenarios like weddings and astrophotography. I’ll also share user experiences, maintenance tips, and a handy comparison table. Let’s get into it!

Sigma 18-35 Vs Sigma 35Mm Comparison

Comparison Table

Here’s a quick snapshot of how these lenses stack up:

Feature	Sigma 18-35mm f/1.8 DC HSM Art	Sigma 35mm f/1.4 DG HSM Art
Type	Zoom	Prime
Focal Length	18-35mm	35mm
Aperture	f/1.8	f/1.4
Weight	811g	755g
Mount Compatibility	Nikon F, Canon EF, etc.	Sony E, Canon EF, etc.
Image Stabilization	No	No
Weather Sealing	No	No
Minimum Focus Distance	0.28m	0.3m
Maximum Magnification	0.23x	0.19x
Angle of View	76.5° – 44.2°	63.4°
Optical Design	17 elements in 12 groups	13 elements in 10 groups
Special Elements	4 aspherical, 5 SLD	3 aspherical, 3 FLD, 1 SLD
Focus System	HSM	HSM
Filter Size	72mm	67mm
Hood	Yes, reversible	Yes

Build and Handling

Both lenses scream quality, as you’d expect from Sigma’s Art series. The 18-35mm weighs 811g, a bit heavier than the 35mm’s 755g, due to its zoom mechanism. Both feature high-precision brass bayonet mounts, ensuring durability.

The 18-35mm’s zoom ring is buttery smooth, letting me adjust framing on the fly. The 35mm’s focus ring is precise, ideal for manual tweaks. Neither has weather sealing, so I’m cautious in rain or dust, but their solid construction feels trustworthy for daily use.

Optical Design and Image Quality

Let’s talk optics—the heart of any lens. Both are engineered for top performance, but their designs cater to different needs.

Sigma 18-35mm f/1.8 DC HSM Art

This lens boasts 17 elements in 12 groups, including 4 aspherical and 5 SLD (Special Low Dispersion) elements. The aspherical elements tackle spherical aberration, keeping images sharp across the frame. SLD glass reduces chromatic aberration, ensuring vibrant, accurate colors. Sigma’s Super Multi-Layer Coating minimizes flare and ghosting, delivering high contrast even in backlit conditions. Images are sharp, especially at f/2.8, though I’ve noticed slight barrel distortion at 18mm, easily fixed in post.

Sigma 35mm f/1.4 DG HSM Art

With 13 elements in 10 groups, this lens includes 3 aspherical elements, 3 FLD (F Low Dispersion) glass elements, and 1 SLD element. FLD glass, akin to fluorite, excels at reducing axial chromatic aberration, which is tough to correct after shooting. This results in razor-sharp images, especially in the center, even at f/1.4. The bokeh is creamy, perfect for portraits. Like its zoom counterpart, it uses Sigma’s coating to combat flare, ensuring crisp, colorful shots.

Both lenses deliver vibrant colors and solid contrast, but the 35mm’s wider aperture gives it an edge in low-light and bokeh quality, while the 18-35mm prioritizes versatility.

Versatility

The 18-35mm’s zoom range (28.8-56mm equivalent on full-frame) makes it a Swiss Army knife for APS-C shooters. It’s perfect for landscapes, street photography, or even portraits at 35mm. I love not having to swap lenses in fast-paced shoots. However, if you need wider or longer focal lengths, you’ll need another lens.

The 35mm, a prime, locks you into 35mm (52.5mm equivalent). It forces me to move my feet, which sparks creativity in framing. It’s ideal for street photography or environmental portraits but less flexible for varied scenarios. If you love the 35mm perspective, it’s a dream.

Real-World Performance

I’ve tested both lenses extensively on my APS-C camera, and here’s how they perform across different genres.

Portrait Photography

For portraits, the 35mm f/1.4 is my go-to. Its f/1.4 aperture creates a shallow depth of field, making subjects pop against dreamy backgrounds. The sharpness at 35mm is stunning, and the bokeh is smooth, ideal for headshots or environmental portraits. The 18-35mm at 35mm f/1.8 is great, but its bokeh isn’t quite as creamy, and the extra stop of light on the 35mm makes a noticeable difference.

Landscape Photography

The 18-35mm excels here. Its 18mm wide end captures sweeping vistas, while zooming to 35mm lets me focus on details like distant mountains. The constant f/1.8 aperture is handy for low-light landscapes, like sunrise shots. The 35mm works for landscapes too, but its fixed focal length can feel limiting when I want a wider view.

Street Photography

Street photography thrives on discreet, natural perspectives. The 35mm f/1.4, with its 52.5mm equivalent focal length, mimics the classic 50mm look, perfect for candid urban shots. Its fast aperture handles low-light city scenes beautifully. The 18-35mm’s zoom lets me adjust framing quickly without drawing attention, making it versatile for dynamic street scenes.

Wedding Photography

Weddings demand versatility and low-light performance. The 18-35mm is a workhorse, covering wide-angle group shots at 18mm and intimate moments at 35mm. Its f/1.8 aperture handles dim venues well. The 35mm f/1.4, with its superior sharpness and bokeh, is my choice for stunning bridal portraits or low-light ceremony shots. Many wedding photographers carry both for maximum flexibility.

Astrophotography

For night sky photography, both lenses shine due to their fast apertures. The 18-35mm’s wide 18mm end is great for capturing expansive Milky Way shots, and its f/1.8 aperture gathers plenty of light. The 35mm f/1.4, with its extra stop, is even better for isolating celestial subjects, and its sharpness ensures crisp stars. Neither has coma issues, making them reliable for astrophotography.

Video Performance

Both lenses are video-friendly, thanks to their Hyper Sonic Motor (HSM) for fast, quiet autofocus. The 18-35mm’s zoom range is a boon for videographers needing flexibility without swapping lenses. Its inner focus system keeps the lens balanced during shots. The 35mm’s f/1.4 aperture is perfect for cinematic shallow depth of field, and its smooth manual focus ring is a hit with filmmakers. However, some users note slight autofocus noise in video if the microphone is too close, so manual focus is often preferred.

User Experiences

I’ve scoured forums and talked to fellow photographers to get their take on these lenses. One street photographer raved about the 35mm f/1.4, saying its bokeh isolates subjects beautifully, making it their go-to for urban candids. They love shooting at f/1.4 in low light without cranking up ISO. A landscape photographer praised the 18-35mm for its zoom range, noting it’s perfect for travel when they can’t carry multiple lenses. They’ve used it for Milky Way shots, appreciating the f/1.8 aperture.

A wedding photographer I know uses both. They rely on the 18-35mm for group shots and dynamic moments, switching to the 35mm for portraits where sharpness and bokeh matter most. They mentioned the 18-35mm’s weight can be a factor during long shoots, but its versatility outweighs the heft. These insights show how each lens fits different workflows.

Comparison with Other Lenses

To put these lenses in context, let’s compare them to alternatives. The Canon EF-S 17-55mm f/2.8 IS USM is a popular APS-C zoom, but its f/2.8 aperture can’t match the 18-35mm’s f/1.8 for low-light work or bokeh. The Canon 35mm f/1.4L II USM, a full-frame prime, rivals the Sigma 35mm f/1.4 in sharpness but is pricier. Nikon’s 35mm f/1.8G DX is lighter and cheaper than Sigma’s 35mm but falls short in sharpness and build quality. The Sigma lenses hold their own, offering excellent performance for APS-C shooters.

Maintenance and Care

Since neither lens has weather sealing, extra care is needed in tough conditions. Here’s how I keep them in top shape:

• Lens Hood: Both come with hoods to protect the front element and reduce flare. I always use them.
• Cleaning: I wipe dust with a soft cloth and use lens cleaning solution for smudges, following Sigma’s guidelines to protect coatings.
• Storage: I store them in padded cases to avoid scratches and keep them away from extreme heat or cold.
• Fungus Check: In humid climates, I inspect for fungus spots regularly, as early detection can save the lens.
• Firmware Updates: Sigma’s USB Dock lets me update firmware for better autofocus performance, which I check periodically.

These steps ensure these lenses stay reliable for years.

Full-Frame Compatibility

Both lenses are designed for APS-C sensors, but I’ve tested them on full-frame bodies. The 18-35mm vignettes heavily, especially at 18mm, making it impractical for full-frame use. The 35mm performs better but may show corner softness. For best results, stick to APS-C cameras like Canon’s EOS 90D or Nikon’s D7500.

Future-Proofing

Sigma’s Art series is known for innovation, but these lenses, released in 2012 and 2013, remain competitive. The 18-35mm’s unique f/1.8 zoom design has no direct rival, and the 35mm holds up against newer primes. Sigma’s USB Dock ensures firmware updates keep them relevant. However, if you’re eyeing mirrorless systems, check for mount compatibility, as Sigma offers adapters like the MC-11 for Sony E-mount.

Decision-Making: Which Lens Is Right for You?

Choosing between these lenses boils down to your shooting style:

• Sigma 18-35mm f/1.8: Pick this if you need versatility. Its zoom range is perfect for travel, landscapes, or weddings where swapping lenses isn’t ideal. It’s heavier, but the flexibility is worth it for multi-genre shooters.
• Sigma 35mm f/1.4: Go for this if you prioritize image quality for portraits, street photography, or low-light work. Its f/1.4 aperture and sharpness make it a specialist’s dream. It’s lighter, great for long shoots.

Both are stellar, so consider what you shoot most. If you’re torn, try renting them to see which feels right.

Conclusion

The Sigma 18-35mm f/1.8 DC HSM Art and Sigma 35mm f/1.4 DG HSM Art are phenomenal lenses for APS-C shooters. The 18-35mm is a versatile workhorse, perfect for varied genres like landscapes and weddings. The 35mm is a portrait and low-light champion, offering unmatched sharpness and bokeh. Your choice depends on whether you value flexibility or specialization. Both reflect Sigma’s commitment to quality, making them worthy additions to your kit. Happy shooting!

FAQ

Can I use these lenses on full-frame cameras?
They’re optimized for APS-C. The 18-35mm vignettes heavily on full-frame, and the 35mm may show corner softness.

Which is better for low-light conditions?
The 35mm f/1.4 lets in more light, giving it an edge. The 18-35mm’s f/1.8 is still excellent.

Do these lenses have image stabilization?
No, neither has stabilization. Use a camera with in-body stabilization or steady hands.

Can I use filters with these lenses?
Yes, the 18-35mm takes 72mm filters, the 35mm takes 67mm. Polarizers work well with both.

How’s the autofocus performance?
Both use HSM for fast, quiet autofocus, great for stills and video, though manual focus is preferred for video to avoid noise.