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The in depth Sigma 17-40mm F1.8 DC Art Lens Review was just posted.

Canon and Sony APS-C-format shooters need to read this one.

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Get this lens as soon as it hits the streets. Order the Sigma 17-40mm F1.8 DC Art Lens now from B&H | Adorama

From Sigma Corporation of America:

Sigma Corporation Announces the Versatile, Professional-Grade 17-40mm F1.8 DC | Art Lens, Pushing the Boundaries for Both Photography and Video

Ronkonkoma, NY, June 17, 2025 – Sigma Corporation of America, the US subsidiary of Sigma Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan), is pleased to introduce the 17-40mm F1.8 DC | Art, the first Art lens for APS-C format since 2016, and the very first made exclusively for crop sensor mirrorless cameras.

This remarkable new lens is the direct successor to the groundbreaking 18-35mm F1.8 DC HSM | Art for DSLR cameras, offering the user a wider angle of view as well as more versatility at the telephoto end. With an updated optical design, it delivers the image quality and brightness of a prime lens, along with the versatility of a zoom. This fast, flexible lens is also designed with video shooting in mind, featuring an inner zoom, high-speed and silent linear autofocus, and minimal focus breathing, as well as a dust and splash-resistant structure for use in virtually any environment.

Significantly lighter than its predecessor, the 17-40mm F1.8 DC | Art lens weighs only 535g (18.9 oz.) and is stacked with features that will appeal to photographers, filmmakers and content creators alike, no matter what camera system it is paired with.

The Sigma 17-40mm F1.8 DC | Art lens will be available in mid-July at authorized Sigma dealers for Sony E-mount, L-Mount, Fujifilm X Mount, and Canon RF Mount for a retail price of $919 USD.

Exclusively for mirrorless cameras

Compatible with crop sensor cameras

ART 17–40mm F1.8 DC

• Standard zoom lens with a large aperture and rendering capability comparable to a prime lens
• Highly portable and versatile for any situation
• Functions to support video production

Available mounts: L-Mount, Sony E-mount, FUJIFILM X Mount, Canon RF Mount

Supplied accessories: Lens Hood LH728-02, Front Cap LCF-67 IV, Rear Cap LCR III, Pouch

Launch: L-Mount, Sony E-mount, FUJIFILM X Mount / July 10, 2025

Canon RF Mount / August 2025

* Product appearance and specifications are subject to change.

* L-Mount is a registered trademark of Leica Camera AG.

* This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license agreement with Sony Corporation.

* This product is developed, manufactured and sold under license from Canon Inc.

#Sigma #Sigma1740mmArt #SigmaArt #SigmaArtZoom #SigmaDC #MadeInAizu

The Sigma 17-40mm F1.8 DC | Art builds upon the groundbreaking innovations of the Sigma 18-35mm F1.8 DC HSM | Art, which earned high acclaim as the world’s first F1.8 zoom lens in the photography and video industry. Thirteen years after its debut, this next-generation lens achieves not only superior optical performance but also a wider focal length of 17-40mm while reducing its weight by over 30%. This dramatically enhances the versatility of a large aperture standard zoom lens.

In addition to the fast and quiet autofocus driven by the HLA (High-response Linear Actuator), the lens incorporates an inner zoom mechanism and minimal focus breathing, ensuring outstanding performance for both still photography and video production. Sigma, the pioneer that stunned the world with the first-ever F1.8 zoom lens, has once again revolutionized the history of large aperture zoom lenses.

KEY FEATURES

Standard zoom lens with a large aperture and descriptive power comparable to a prime lens

Constant maximum aperture of F1.8

The Sigma 17-40mm F1.8 DC | Art has the convenience of a zoom with a constant aperture of F1.8 throughout the zoom range. Taking advantage of a large aperture comparable to a prime lens, the lens is suitable for low-light environments such as indoor and night scenes, as well as for expression using large bokeh.

Excellent optical performance

The optical design, realized through the latest design and processing technologies, including the use of high-precision aspherical lenses, achieves excellent optical performance.

By emphasizing the correction of axial chromatic aberration and sagittal coma flare, the lens achieves high resolution even at the wide-open F1.8 aperture, rendering textures and fine details with stunning clarity.

Flexible framing made possible

The range of the Sigma 17-40mm F1.8 DC | Art has been expanded from its predecessor the Sigma 18-35mm F1.8 DC HSM | Art, covering 25.5-60mm in 35mm format*. From wide-angle tabletop photography to portraits that fully utilize the telephoto angle of view, users can take full advantage of the expressive power of the large F1.8 aperture while freely framing their shots without the need to change lenses.

* Approximately 27.2-64mm for the Canon RF Mount version.

Designed to minimize flare and ghosting

Using advanced simulation technology and Sigma’s Super Multi-Layer Coating, flare and ghosting have been largely eliminated, ensuring that the lens renders rich, high-contrast results in all conditions.

Highly portable and versatile for any situation

Practical and stable inner zoom

Employing an inner zoom mechanism, the overall length of the lens remains constant when the focal length or focus distance changes. This means the lens is easy to use and highly stable when shooting hand-held, on a tripod or gimbal, and even more resistant to dust and water contamination.

Enhanced mobility with a compact and lightweight design

The Sigma 17-40mm F1.8 DC | Art is over 30% lighter and has a filter diameter of 67mm, which is one size smaller than its predecessor the Sigma 18-35mm F1.8 DC HSM | Art. Despite being a large aperture zoom lens, it is surprisingly portable. The expressive power of F1.8 can be used with a compact APS-C system, making it ideal for travel and everyday photography, as well as video production, where mobility is key.

Dust- and splash-resistant structure* / water- and oil-repellent coating

In addition to a dust- and splash-resistant structure, the frontmost surface of the lens has a water- and oil-repellent coating applied, so that the lens can be used safely even in harsh outdoor environments.

* The product is designed to be dust- and splash-resistant but is not waterproof. When using the lens near water, etc., take care not to allow large amounts of water to splash on it. If water gets inside the lens, it may cause a major malfunction and render the lens unrepairable.

Equipped with two AFL buttons*, two that can be assigned any function from the camera menu. By placing them on the side and top, users can easily operate the buttons in either landscape or portrait positioning.

* Functions can be assigned on supported cameras only. Available functions may vary depending on the camera used.

* The FUJIFILM X Mount version has an AF function button that can be used to select AF lock/AF operation via lens switch.

Functions that support video production

HLA-driven high-speed AF

The adoption of HLA (High-response Linear Actuator) enables quiet, high-speed, high-precision autofocus. The smooth, stable autofocus is perfect not only for still photography, but also for single-operator shooting with a gimbal or vlogging.

Minimal focus breathing

The focus breathing is suppressed, minimizing changes in the angle of view caused by focus shift and enabling smooth, natural-looking focus pulls when recording video.

Aperture ring with various functions

Equipped with an aperture ring* for intuitive control of the aperture. When shooting video, users can turn off the click switch for smooth, quiet aperture control. It also has an aperture ring lock switch** to prevent accidental changes to the aperture during shooting.

* The Canon RF Mount version has a control ring instead of an aperture ring. It does not have an aperture ring click switch or lock switch.

** If you turn it on in position A, the aperture ring will be locked in position A. If you turn it on in a position other than A, it will be locked in the range from open to minimum aperture, and it will not be possible to turn it to position A.

LIST OF FEATURES

• HLA (High-response Linear Actuator)
• Inner zoom
• Water- and oil-repellent coating
• Aperture ring¹
• Aperture ring click switch²
• Aperture ring lock switch²
• AFL button (2 locations)³
• Focus Mode switch⁴
• Dust- and splash- resistant structure
• Mount Conversion Service available
• Support for switching between linear and non-linear focus ring settings (for L-Mount only)⁵
• Compatible with Sigma USB Dock UD-11 (sold separately / for L-Mount only)
• Every single lens undergoes Sigma’s proprietary MTF measuring system

1. The Canon RF Mount version has a control ring instead of an aperture ring.
2. For the Canon RF mount, this is not equipped.
3. Functions can be assigned on supported cameras only. Available functions may vary depending on the camera used. The FUJIFILM X Mount version has an AF function button that can be used to select AF lock/AF operation via lens switch.
4. The FUJIFILM X Mount is equipped with an AF function setting switch for selecting the function to be used when the AF function button is pressed.
5. Only cameras that are compatible with the system are allowed to use the system.

KEY SPECIFICATIONS

Below figures are for L-Mount

Lens construction: 17 elements in 11 groups (4 SLD, 4 aspherical elements)
Angle of View: 79.7-39.1°
Diaphragm Blades: 11 (Rounded Diaphragm)
Minimum Aperture: F16
Minimum Focusing Distance: 28cm / 11.1in.
Maximum Magnification Ratio: 1:4.8 at f=40mm
Filter Size: ?67mm
Maximum Diameter x Length: ?72.9mm x 115.9mm / ?2.9in. x 4.6in.
Weight: 535g / 18.9 oz.

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From Canon Inc.,

Canon makes its EOS VR SYSTEM compatible with "Apple Projected Media Profile" and "spatial photo" in an aim to expand the 3D VR market and strengthens collaboration with Apple

TOKYO, June 10, 2025—Canon Inc. announced today that two of its RF lenses for 3D VR video—the RF5.2mm F2.8 L DUAL FISHEYE (released in December 2021) and the RF-S3.9mm F3.5 STM DUAL FISHEYE (released in June 2024)—will offer compatibility with "Apple Projected Media Profile" (hereafter "APMP"), a QuickTime movie profile that will be supported by the Apple Vision Pro spatial computer developed by Apple Inc. (hereafter "Apple"). Canon has also announced that it will make its RF-S7.8mm F4 STM DUAL lens (released in November 2024) compatible with "spatial photo," and that it will help to further expand the 3D VR market through collaboration with Apple going forward.

Canon launched the EOS VR System for capturing VR video in 2021, and since then has met the needs for VR video production in diverse fields including entertainment, tourism, and education. In June 2024, the company announced the RF-S7.8mm F4 STM DUAL, a lens capable of recording “spatial video,” which is a type of 3D footage with a sense of depth, for the Apple Vision Pro. Through these developments, Canon has been helping to expand the range of expression available in 3D VR.

At the Worldwide Developers Conference (WWDC), hosted by Apple on June 9, 2025 (Pacific Standard Time), Apple announced visionOS 26, the newest OS for the Apple Vision Pro. In conjunction with this announcement, two of Canon’s RF lenses for 3D VR video, RF5.2mm F2.8 L DUAL FISHEYE and RF-S3.9mm F3.5 STM DUAL FISHEYE, will offer native playback of “APMP” which will be supported by visionOS 26, scheduled to be released in the latter half of 2025. Specifically, footage shot with these lenses and compatible cameras¹ can be converted to “APMP” using the EOS VR Utility² app, making it even easier for users to enjoy a high-quality, immersive experience with the Apple Vision Pro.

By updating EOS VR Utility, the RF-S7.8 mm F4 STM DUAL will also be able to handle not only “spatial video” but also “spatial photo,” which is a 3D image that allows users to enjoy a sense of depth as a still image, when combined with Canon’s mirrorless camera models EOS R7 (released in June 2022) and EOS R50 V (released in May 2025). Additionally, in mid-July 2025, the EOS R50 (released in March 2023) will also be made compatible with the EOS VR SYSTEM through a firmware update, thereby enabling both “spatial video” and “spatial photo.”

Going forward, Canon will further strengthen the EOS VR SYSTEM in collaboration with Apple to meet the creative needs of pro users who strive to produce stunning immersive video as they explore new ways of storytelling.

¹ RF5.2mm F2.8 L DUAL FISHEYE can be mounted on the following cameras: EOS R5 (July 2020), EOS R5C (March 2022), EOS R6 Mark II (December 2022), EOS R5 Mark II (August 2024), EOS C400 (September 2024), EOS C80 (November 2024). RF-S3.9 mm F3.5 STM DUAL FISHEYE can be mounted on: EOS R7, EOS R50 V. As of June 9th, 2025.

²“APMP,” “spatial video” and “spatial photo” are only supported by the macOS version of EOS VR Utility. Some features may require a fee.

*Apple Vision Pro, Quicktime, and visionOS are trademarks of Apple Inc.

The Canon EOS R50 V is here, and it is time to set up this camera.

1. Record serial number, and add camera to the insurance policy
2. Open the box, find the battery, place it in the charger, and plug it in.
3. Consider downloading and installing the latest Canon imaging software to gain support for the latest camera model(s).
4. Insert a memory card (we'll format the card in a later step), insert a charged battery, and power the camera on.
5. The language, date, time, and time zone setup display will show at the first startup. Use the rear control dial and set button to update this information.
6. The camera will prompt to connect your phone running the Canon Connect App. Follow the prompts as desired.
7. Set the camera to still mode
8. Shooting Menu, Tab 1: Image quality: Set RAW to "RAW", and set JPEG to "-" (RAW image files provide the highest quality and are especially valuable for post-processing work)
9. Shooting Menu, Tab 3: Color mode: Picture Style: change to Neutral with Sharpness = 1 (Note: the low contrast "Neutral" picture style provides an in-camera histogram that best shows the available dynamic range. I change the Picture Style to "Standard" in DPP after capture.)
10. Shooting Menu, Tab 4: White balance: AWB W (White) (I seldom use another white balance setting while shooting, though I often adjust white balance modestly during post-processing)
11. Shooting Menu, Tab 5: Lens Aberration Correction: All options "OFF" (I test lenses, but you may appreciate enabling some options, including Chromatic Aberration correction)
12. Shooting Menu, Tab 4: High ISO speed NR: Low (noise reduction is destructive to images details, so I prefer to add noise reduction sparingly during post-processing)
13. Shooting Menu, Tab 6: Release shutter without card: OFF (only in a retail store would you want to press the shutter release without saving the image file)
14. Shooting Menu, Tab 7: Image review: Review duration: Off (I shoot next image priority most of the time, and the image review hinders composing the next shot)
15. Shooting Menu, Tab 8: Shooting info. disp.: Screen info. settings: Enable 1, 2, 3, and 4; edit screen 2 to show only: Basic shooting info and Electronic level; edit screen 3 to show only: Basic shooting info, Histogram, and Electronic level
16. Shooting Menu, Tab 8: Shooting info. disp.: Grid display: 3x3 (sometimes the 3x3 grid is helpful for alignment checking while not complicating the view)
17. Shooting Menu, Tab 8: Shooting info. disp.: Histogram disp: RGB, Small (show the brightness levels of each channel separately and do not let the graph to take up much space in the display as it can affect the perceived composition)
18. Shooting Menu, Tab 8: Shooting info. disp.: Electronic level size: Small (blocks less of the image on the display)
19. AF Menu, Tab 2: Subject to detect: Select Auto, People, Animals, Vehicles, or No priority as makes sense for your current shooting scenario
20. AF Menu, Tab 3: Preview AF: Disable (I don't want the lens autofocusing continuously)
21. AF Menu, Tab 5: MF peaking settings: On
22. Playback Menu, Tab 4: Playback information display: 1, 2, and 3 only; change view 2 histogram to RGB
23. Set-up Menu, Tab 1: Format card (always format a memory card in-camera before using it — all data on the card will be lost)
24. Set-up Menu, Tab 1: Auto Rotate: On computer (images are properly rotated when viewed on a computer, but are always oriented to fill the LCD when viewed on the camera)
25. Set-up Menu, Tab 2: Feature guide: Disable (novices may appreciate this feature)
26. Set-up Menu, Tab 2: Beep: Disable (probably no one wants to hear your camera's beep)
27. Set-up Menu, Tab 3: Power saving: Screen dimmer: Disable (I find the dimmer annoying — the LCD is as useful off as dimmed)
28. Set-up Menu, Tab 5: Copyright information: enter as desired
29. Customized controls, Tab 1: Touch Shutter: Disable (I want the camera to focus on what I touch but let me decide when to capture the image)
30. Custom Functions Menu, Tab 2: Retract lens on power off: OFF (prevents a carefully-selected focus distance from resetting when the camera auto powers off)
31. My Menu: Add My Menu 1; Register the following options: Expo.comp./AEB, Display simulation, Subject to detect, Format card, Date/Time/Zone (great for monitoring the time); reorder menu items as desired
32. My Menu: Add My Menu 2; Register the following options: Anti-flicker shoot., Shutter mode, reorder menu items as desired
33. Switch to video mode, and adjust desired video-related settings (mine vary significantly from shoot to shoot)

I make additional menu and other setting changes based on current shooting scenarios, but this list covers my initial camera setup process.

To copy this configuration means you intend to shoot as I do, including in RAW-only format. While this setup works optimally for me, you should adjust the camera setup to your needs.

If you can't remember your menu setup parameters, keeping an up-to-date list such as this one is a great idea. Anytime the camera is set to the factory state, such as when serviced or when acquiring an additional camera, the list will ensure all settings are quickly re-established.

More Information

Canon EOS R50 V Review

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