Sigma just revived a legendary lens. This is the Sigma 17-40mm F1.8, and its release marks the return of one of the most iconic APS-C lenses they’ve ever made.
Let me explain by telling you a story about the birth of a legend.
The year is 2013. Up until that point, if you wanted a lens that performed well in low light, your choices were very limited. A fixed prime lens that doesn’t zoom was really the only viable option, because zoom lenses were at best F2.8 if you were lucky and had a big budget.
But that year, everything changed. Sigma realized there was a gap in the market and released what is arguably one of the most compelling zoom lenses ever made for a crop sensor camera: the Sigma 18-35mm F1.8. A relatively compact lens that, most importantly, did not compromise on low light performance. It had an extremely impressive constant F1.8 aperture on a zoom, which was basically unheard of at the time.
Oh yeah, and it had an internal zoom too, which made it basically perfect for filmmaking, especially on a gimbal.
Filmmakers loved this lens. They raved about it online. Left thousands of five-star reviews. It was, in a word, legendary.
But there were two limitations. Two flaws that this lens could never shake.
The first is obvious: there was no full frame option. It was APS-C only. (Sigma has since released a full frame version called the 28-45mm F1.8, which I’ve already reviewed and will link to below.)
The second flaw was arguably worse: this lens was only available for Canon EF and Nikon F mounts. There was no Sony E-mount, no modern mounts for mirrorless cameras at all. Over time, that limitation caused this legendary lens to slowly fall out of favor, not because it wasn’t good, but because filmmakers and photographers wanted native lenses they didn’t have to use an adapter for.
Now, 12 years after the initial release of the 18-35, Sigma is ready to show us what they’ve been working on. The successor to one of their most legendary lenses.
This is the Sigma 17-40mm F1.8.
A successor that improves on the original in every single way. And today, I’m reviewing it from the perspective of a wedding and freelance filmmaker. So if you make money with your camera and you want a super compact F1.8 zoom that gets you incredible-looking footage without breaking the bank, this review is for you.
Quick note on ethics: this is not paid or sponsored by Sigma. They loaned me the lens so I could make this review, and I will be returning it to them shortly.
It’s Tiny. Like, Shockingly Small.
The most obvious improvement whenever you actually hold this lens is the size. This thing is tiny. Ultra compact. I am genuinely shocked that, even though this is not a full frame lens, Sigma was able to make it this small and still keep the F1.8 aperture.
And they kept the internal zoom, too. So not only is this lens incredibly compact, it also doesn’t shift its weight around when you zoom in and out, because the barrel doesn’t extend. That’s a huge deal for gimbal work.
Compared to the original 18-35, the 17-40 is 4mm shorter and 5mm less wide, and the original wasn’t that big to begin with. It’s also very lightweight, coming in at only 525 grams, which is roughly 35% lighter than the original 18-35.
And keep in mind: this isn’t just a repackaged 18-35. Sigma has actually added more zoom range on both ends of the lens, picking up an extra millimeter on the wide end and five more on the tight end. You’re getting more range in a smaller, lighter package. If anyone tries to tell you lens technology hasn’t improved in the last 12 years, just show them this lens.
On top of the size improvements, Sigma included everything you’d expect from a modern lens: an aperture ring that can be made clickless (huge for video), an AF/MF switch, two programmable buttons, and a 67mm filter thread that is very easy to find adapters for. The 17-40 is extremely full-featured.
If you want to go deeper, I’ve also got Sony 35mm GM 1.4 Lens Review For Filmmakers – BEATS Sigma 35mm 1.2.
Image Quality, Autofocus, and the Stuff That Actually Matters
None of the size and weight wins would matter if the image quality took a hit. So let’s talk about that.
When I threw this lens on a rented Sony FX30, I was pleasantly surprised. The image quality is quite good, everything you’d expect from a modern zoom lens. It’s sharp, the colors are accurate and vibrant, and let me just say: that F1.8 aperture is putting in serious work once things get dark. It looks absolutely gorgeous in low light.
Autofocus? Really good. Fast, accurate, and I didn’t see it hunting at all. Solid work from Sigma here.
How about focus breathing? Minimal. It’s still noticeable if you do a full rack focus, but it’s very small and very acceptable in my opinion.
Is it parfocal? Ehhh, no. It’s close, but focus does shift slightly when you zoom in and out. Whether that matters to you depends on how you shoot. If you’re relying on autofocus, it probably doesn’t matter much at all.
Who Is This Lens For?
If I owned a Sony FX30 and wasn’t just renting one, maybe I was a newer filmmaker just getting started, looking for a super solid and extremely versatile zoom lens that would look incredible and still give me gorgeous low light shots, I would pick this Sigma up in a heartbeat.
Especially when you consider that Sigma is charging $920, which is kind of mind-blowing when you realize the original 18-35 is still on sale for $880 at the time of me making this video. Forty dollars more for all of these improvements? I’ll take it.
If you’re also in the market for something on the full frame side, check out my review of the Sigma 35mm F1.2 Mark II, another lens that Sigma improved in every single way over its predecessor. The pattern here is clear: Sigma is on a roll right now.
And if you want to take your editing to the next level once you’ve got great footage in the bag, my free guide Edit Videos Like a Pro is a great place to start.
The Verdict
The Sigma 18-35 is dead. But it had a son.
Long live the Sigma 17-40 F1.8.
Will you be getting one?