150-600mm F5-63 Dg Os Hsm C Review

Sigma 150-600mm f/5-vi.three DG Bone HSM C Lens Review

The Sigma 150-600mm f/5-6.iii DG OS HSM Gimmicky Lens review was created simultaneously with the Sigma 150-600mm f/5-vi.3 DG Os HSM Sports Lens review. It is very unusual to be reviewing two just-released lenses from the same manufacturer that share the aforementioned focal length range and the aforementioned aperture range. Fifty-fifty many of the features of these lenses are shared, including the extensive switch functionality and the Os feature. So, you will recognize some content shared between these ii reviews.

As much every bit the Sports version of this lens is about build quality, the Contemporary lens is most light weight and lower toll. Which is more important and what are the other differences? Skillful questions.

Focal Length / Focal Length Range

The primary feature shared betwixt the Sigma 150-600mm lenses is the focal length range. In this very of import regard, these two lenses are the same and accept the same uses.

Having the 150mm portion of the focal length spectrum covered is a swell asset of this lens, but for those only needing the wider bending range of this lens' focal lengths, there are many other options available and some may be preferable for ane reason or another.

When the focal length needs extend beyond 400mm, the options quickly narrow and the prices ascend speedily for most of those remaining. Until recently, at that place were no major brand proper name DSLR zoom lenses that extended to 600mm (bated from the huge and very expensive Sigma 300-800mm f/5.half dozen EX DG APO IF HSM Autofocus Lens). The 150-600mm Gimmicky Lens is now the third such lens, joining the Tamron 150-600mm f/5-6.three Di VC USD Lens and Sigma's other offering, the already-mentioned 150-600mm Sports variant.

One exception to 150-600mm lenses being equal in regards to focal length is when the specified focal length numbers accept been rounded significantly. Long focal length range lenses gain suspicion just for being that.

Using an unscientific methodology involving relating the altitude measurement to a properly-framed ISO 12233 enhanced resolution chart relative to framing distances of the Catechism and Nikon 600mm prime lens, I estimated that the Tamron 150-600mm selection came within 95% of the 600mm prime effigy or roughly 570mm. The 2 Sigma zooms frame the test chart at a similarly-slightly shorter distance than the Tamron, bringing the rough focal length estimate downwards to slightly under 560mm. Even so, the Sigma lenses have less pincushion baloney at 600mm and this distortion difference could easily be the reason for any divergence in the test chart framing distances between these lenses. Suffice to say that the Sigma lens' 600mm is a very long focal length and information technology is certain to bring a smile to your face.

At that place is a very good chance that wildlife and sports are your photographic pursuits if you are interested in the Sigma 150-600 Gimmicky lens. While this lens has other very good uses, sports and wildlife frequently accept subjects that are non more than-closely approachable and longer focal lengths become a requirement instead of a luxury.

While this is the "Contemporary" variant of Sigma'southward 150-600mm lens (vs. the "Sports" model), I used this Lens at several spring sporting events I was covering in recent months. This focal length range can capture team laurels photos at 150mm and moments later capture distant runway and field participants tightly framed equally they cross the stop line or jump over their confined and hurdles. All of this while keeping the photographer far out of the way. I didn't make an try to get credentialed for one tightly controlled effect and from outside of the waist-loftier track perimeter fence, the 150-600mm Contemporary lens immune me to frame the participants tighter than any of the credentialed photographers could from inside the fence with the lenses they had (generally seventy-200s and a 300mm).

One occasional downside of being farther away is that obstructions can come between the photographer and the subject. Sometimes, focal length-limited photographers competing for the aforementioned image are the problem. Sometimes, information technology may only be trees that get in the way.

From just behind the goal line, half of a total sized soccer field can exist covered by the 150-600mm range using a full frame body (and the activeness on the other half is easier to see by merely watching through the lens). When the action approaches, zoom out and with this broad zoom range, a option of camera orientations is often bachelor. When using a prime number lens, the distance to the subject frequently dictates the selection of camera orientation (to avoid cropping the subject too tightly). This focal length range permits ideal framing over a significant range of discipline distances, requiring less image quality-detrimental and modestly time consuming cropping in mail service.

Desire close-ups of dangerous sporting activities? This lens may have your proper name on it. The discus throw is 1 such issue I photographed with a 150-600mm lens. Shooting the thrower through the protective cage does non generate good imagery. Shooting this consequence within the landing zone is ... dangerous to both camera and photographer. With 600mm bachelor, I was able to shoot tight images of the throwers without subjecting myself to potential injury.

I would take my chances with an errant discus throw earlier risking my life to an oncoming race car. Machine racing is another sport where close proximity photography is not recommended (outside of the pits at least) and in this sport, 600mm tin can be gilded.

Wildlife is oft difficult to arroyo and in this situation, long focal lengths rule.

If you live in the right location and have mural that is attractive to wildlife, yous might be surprised at how many bang-up wildlife images you tin capture from inside the house with a lens such as this one. Mother raccoons accept huge appetites while feeding their immature, bringing this typically nocturnal animal out in the centre of the twenty-four hour period in search of food. Once the raccoon was spotted from inside the house, I grabbed the 150-600mm Contemporary lens mounted to a Catechism EOS 5D Mark Three and slowly opened a window. You lot are looking at the best effect of this short session.

Bird photographers never take too much focal length and having a zoom range to piece of work with means that even big and close birds and other wild animals tin can exist framed environmentally, showing the ideal amount of landscape along with the animal.

Ever visit the zoo? With all of the fencing and concrete, it is like shooting fish in a barrel to take poor quality zoo photos. Having these long focal lengths to tightly frame the animals with is definitely an advantage.

Are you lot interested in air shows? This focal length range is perfect for capturing multiple plane formations too as afar unmarried shipping. That this lens is relatively light makes handholding these overhead shots easier.

There are many other photographers who can make utilise of this wide 4x focal length range. Photojournalists with restricted access to their subjects, paparazzi and law enforcement groups will all observe this focal length range useful. Portraits, specially the tightly framed variety, are on this lens' adequacy list.

Landscapes are another subject area included in this lens' capabilities. Long focal lengths are great for making colorful sky photos from even modestly nice sunrises and sunsets. Compressed mountain landscapes can be especially squeamish.

Place an APS-C/ane.6x FOVCF photographic camera backside this lens and the angle of view becomes equivalent to a 35mm 240-960mm lens. Those extremely narrow angles of view move this lens' uses more deeply into the sports and wildlife range. Framing small-scale and afar subjects large in the frame is (relatively) easy at 960mm, but assist steadying the camera will be appreciated for good composition.

Hither is an example of the 150-600mm focal length range equally seen by a full frame camera:

While long focal lengths will brand you desire to photograph very distant subjects, under some situations, besides-afar subjects should be avoided. Haze tin can reduce contrast and estrus waves/shimmer tin can quickly destroy image sharpness past micro-distorting details. While haze is primarily express to affecting long altitude photography, heat waves can affect even shut range photography.

Shooting subjects on a track (the kind that people run on and the kind that people bulldoze on) often results in heat wave baloney affecting the final image. Artificial turf also generates lots of rut wave baloney on a sunny afternoon. Note that heat waves can negatively bear on AF performance every bit well.

Max Aperture

Want very long focal lengths in a zoom lens without a large size, heavy weight and high price? Your options are probably all variable max aperture lenses. Like the bulk of zoom lenses with focal lengths reaching over 200mm, the Sigma 150-600mm f/five-half dozen.3 OS Lens also has a broad open aperture that narrows as the focal length increases. When using these lenses with a wide open aperture, exposure settings will modify as the lens is zoomed from 150mm to longer focal lengths. Cameras in auto exposure fashion will automatically account for the narrowing max aperture, but manual mode requires a manual exposure aligning when using wide open apertures (unless auto ISO is being used or an in-photographic camera office accommodates the changes).

Here is what this lens' max discontinuity step downward looks like in relation to a handful of other comparable lenses:

Model	f/four.0	f/iv.5	f/5.0	f/5.6	f/6.iii
Canon EF lxx-300mm f/4-5.6L IS USM Lens	70-103mm	104-154mm	155-228mm	229-300mm
Canon EF 70-300mm f/iv-5.6 IS USM Lens	70-84mm	85-134mm	135-224mm	225-300mm
Canon EF 100-400mm f/4.5-five.6L IS II USM Lens		100-134mm	135-311mm	312-400mm
Nikon lxxx-400mm f/4.5-5.6G AF-S VR Lens		80-134mm	135-249mm	250-400mm
Sigma 150-500mm f/5-half-dozen.3 DG OS HSM Lens			150-173mm	174-312mm	313-500mm
Sigma 150-600mm f/v-6.3 DG OS HSM Sports			150-184mm	185-320mm	321-600mm
Sigma 150-600mm f/v-6.3 DG OS HSM C			150-179mm	180-387mm	388-600mm
Tamron 150-600mm f/v-six.3 Di VC USD Lens			150-225mm	226-427mm	428-600mm

Stepping downwards to a max f/5.6 aperture simply 30mm into the 450mm overall focal length range and to f/6.three at 388mm places this lens among the slowest/darkest lens available in terms of max aperture (and viewfinder brightness). Among the 150-500 or 600mm options, this lens is ane of the brighter options, but the ane/3 end differences will non likely be a decision factor for most.

Being realistic, the Sigma 150-600mm lenses, even the one with "Sports" in its proper name, are not going to be your best choice for capturing low calorie-free action. When the dominicus sets or the clouds roll in and the aperture is limited to f/half-dozen.3, you will be reaching for noisy-high ISO settings to become the 1/1000 to i/1600 shutter speeds frequently necessary to end action.

The rail sample photo shared above was captured late in a mid-spring afternoon under a brilliant but cloudy sky. This 450mm paradigm required ISO 1600 to get an ideal 1/1600 2d shutter speed. While ISO 1600 is bully on a 1D X, the low-cal conditions were neat on this twenty-four hour period. On a cloudy evening or after the sun sets, ISO 6400 and in a higher place is non unreasonable to expect.

Don't underestimate the shutter speed required to stop motion at 600mm. An in-action subject area that was photographed at 300mm volition need a significantly faster (effigy 2x) exposure duration when photographed at the same distance (same subject framing) at 600mm due to the bailiwick crossing twice as many pixels in the same time period. Because reaching for higher ISO settings when shooting fast activeness is frequently necessary, the narrow aperture may be the biggest detriment to concluding image quality when using this lens in comparison to a wider aperture prime lens selection.

Wider apertures greatly increase the size, weight and price of the lens, and then equally with nearly products, there has been a tradeoff made. This is the lightest 150-600mm lens bachelor at review time, though it is negligibly lighter than the Tamron option.

With the sharpness-reducing effects of diffraction kicking in with some strength at f/11 through f/16 (depending on the DSLR being used), in that location is a somewhat narrow range of ideal apertures available for optimal utilise in this lens. Fortunately, those remaining apertures are quite useful.

Image Stabilization

Optical stabilization can greatly increase the versatility of nearly lenses, and when the focal length increases to 600mm, especially on an APS-C body, OS tin save the 24-hour interval by virtue of the stabilized viewfinder lone. Framing a bailiwick properly at 600mm handheld requires steady arms, just OS reduces the steadiness requirement to include a much greater segment of the lensman population. Sigma has non published the optical stabilization system rating for this lens, but I would be surprised to learn of a less-than-four-stop rating existence introduced today.

With good grade and stable ground, I could get by and large-sharp handheld results downward to 1/15 second at 150mm (using a full frame DSLR) for nigh 3 ane/3 stops of assistance over handholding a 150mm focal length in general. The keeper rate quickly dropped at longer exposure durations and across one/ten second exposures, a very low percentage of images were sharp. One image in 16 was sharp at 1/5 second.

Longer focal lengths with their greater magnification require faster shutter speeds to deliver sharp handheld results than their wider angle counterparts practise. At 600mm, the 150-600 Contemporary gives me generally sharp handheld results downwardly to ane/50 2nd for about three 2/3 stops of assist. The keeper rate was about 75% at 1/twoscore with sharp images captured sporadically at longer exposure times.

Equally is mutual for stabilized telephoto lenses, the Sigma 150-600 features mode one (normal) and mode ii (panning) options. Using the Sigma Dock, this lens' OS can be farther configured to one of 3 settings described by Sigma as:

Dynamic View Fashion – This manner offers a recognizable OS event to the paradigm in the viewfinder. This helps to ensure the composition of images quickly.

Standard – This is the default setting. The OS effect is well-counterbalanced and suitable for various scenes.

Moderate View Mode – This mode offers an excellent compensation of camera milk shake, and achieves very smooth transition of the prototype in the viewfinder. The composition of the image remains natural even when the angle of view keeps changing.

The lens comes with "Standard" selected by default. I primarily used Standard manner for my testing (and off while shooting sports), but I prefer Dynamic View Manner for subjects that are non moving quickly.

Some clicks are heard at Os startup and shutdown, but the operational hum is serenity. There is sometimes a minor amount of jumping seen at Bone startup and shutdown and subject area framing drifts a pocket-sized amount during Bone operation (turn off OS when using a tripod). The cease results from this lens' stabilizer are good – OS is an important feature for this handholdable long lens.

Paradigm Quality

A 500mm or longer lens priced as depression and weighing as little as the 150-600mm Contemporary historically tells me that I should not count on the long focal length prototype quality being good. If the Tamron 150-600 hadn't paved the way, my expectations from this lens would have been considerably lower. Having just reviewed the Sports variant, I had some other very good 150-600mm image quality experience on tape. Merely that lens was priced nearly 2x college, making expectations for the Contemporary lens to be much less. Fortunately, I walked away from the image quality testing with very positive results – results that contradict the price and weight.

Image sharpness, a combination of contrast and resolution, is generally the nigh preferred lens image quality attribute. Testing sharpness is commonly the commencement test nosotros carry. Starting at 150mm with a wide open aperture, this lens delivers sharp results across the entire total frame image circle. Results remain similar until a pocket-size reduction in sharpness is seen at 400mm. A very slight decline continues through 500mm and more degradation is seen at 600mm where I would telephone call the sharpness "OK".

Stopping downwards to f/8 but generates a noticeable improvement in sharpness at 600mm, especially in the center of the frame. As the focal lengths are decreased, the f/8 improvement declines, simply becomes less-needed. The difference at 300mm is very slight and moving wider than 300mm, the f/8 departure becomes almost negligible even though f/8 represents more than ane end of aperture reduction at these focal lengths (vs. 2/three cease). The main improvement at f/eleven is seen at 600mm and the small comeback is mostly isolated to the full frame corners.

As I said with the "Sports" lens, I'g not going to debate that this lens competes at the level of the most-elite zoom lenses available today in terms of sharpness, just information technology does perform reasonably well and specially well for having such a wide range of very long focal lengths, for its low-cal weight and for its relatively low toll indicate. I'll add together many comparisons in the alternating lens section at the end of this review and at that place is of course more to prototype quality than sharpness.

Full frame camera owners will encounter just over ii stops of vignetting in epitome corners when using this lens with a wide open discontinuity at 150mm. The corners brighten to most 1.8 stops of shading at the focal lengths where the max aperture drops to f/5.6 and f/6.3, basically from 180mm and across. These amounts are moderately noticeable. Wide open corner shading variation over the focal length range is quite low.

Vignetting may be noticeable, merely it can sometimes be a positive attribute of an paradigm, drawing the viewer's middle toward the brighter, more-centered subject. I'd of course rather have the option to add vignetting in post than for removing it to be my only selection. The downside to removing vignetting is potentially increased dissonance levels in the portion of the image that is brightened.

At f/8, a seldom-noticed most-.7 stops of corner shading remains at 150mm. The shading drops to well-nigh half a end at 180mm, but gradually increases to most .8 stops at 250mm and then holds similarly throughout the balance of the focal length range.

APS-C format body owners will non notice vignetting when using this lens, regardless of discontinuity setting.

Expect to see a small amount of CA (Chromatic Aberration) in the mid and peripheral image circle at the wide end of the focal length range. The CA diminishes to negligible in the mid lengths (around 400mm), but becomes modestly noticeable over again as 600mm is reached. As with the Sports version of this lens, for the uses I've had for this lens, I seldom encountered strong furnishings of CA. With the right software (not Catechism Digital Photo Professional), CA can be nicely corrected in post processing.

For the worst case 150mm full frame corner CA example shown below, I intentionally went looking for strongly contrasting lines running tangential to the image circle.

It is a telephoto lens with long focal lengths and a big element count, so one should expect to run across some flaring if a very strong light source enters the film (such equally the sunday). For prophylactic reasons (my own and the camera's), this lens was not flare-tested beyond 400mm. The amount of flaring seen in the tested range was normal.

The 150-600 Gimmicky lens shows a slight amount of pincushion baloney that is rather consistent over the entire focal length range with the least amount of baloney nowadays at 600mm. If sports and wild fauna are the subjects, the distortion will probably not be noticeable in nearly images. This lens performs very well against other zoom lenses in this regard. Removing distortion can besides be easily done in post, but ... stretching portions of the epitome is destructive at the pixel level. The software we have today is very good, merely ... information technology is all the same using computer algorithms to create item in some areas.

The Sigma 150-600mm Contemporary Lens' bokeh, the quality of the background mistiness, appears good/normal. The 9-blade aperture creates out-of-focus specular highlights that await like this:

While this lens is non going to create a background mistiness every bit stiff equally a 400mm f/2.8 or a 600mm f/iv lens tin can create, the long focal lengths do not accept a problem creating significant blur. Sporting venues are full of distracting background elements and the blur adequacy becomes even more important in these situations. Hither is a 600mm f/6.three example:

Lenses with extreme focal lengths or an extreme range of focal lengths often testify shortcomings in their image quality. While this lens is non the ultimate performer in this regard, it is definitely a contender among the 150-600s and other long telephoto zoom lenses.

Focusing

Driven by Sigma's HSM (Hypersonic Motor), the Sigma 150-600mm Bone Sports Lens is fast-focusing out of the box. I say "out of the box" because the focus speed performance attribute tin can be configured using the Sigma Dock. Basically, the slower (Sigma references "smoother" instead) the lens focuses, the greater the chance that the lens focuses accurately.

The default "Standard" option is designed to provide a balance of speed and accuracy. By configuring one of this lens' two custom modes (switch selectable), faster (Motor'due south drive speed-priority) and slower (Focus accuracy-priority) focus drive speeds can be selected. You may detect the slower speed to be the ameliorate low light choice while the faster speed may prove great for your high contrast in-action subjects under bright light.

Place a conspicuously delineated subject with good contrast on a focus point and this lens locks focus very quickly in "Standard" way and even faster in "Motor's drive speed-priority". The differences between the three focus speed modes is noticeable, but I used the Standard mode for most of my testing based on the expectation that Sigma made this the default mode with good reason.

Equally smashing as fast-focusing lenses are to take, focus accuracy is always more than important. In the field AF accuracy on both the 5D Mark Iii and 1D X I was using the lens on has been reasonable and that includes AI Servo performance at several sporting events I captured with this lens. Reasonable, but not perfect was AF Consistency. In four separate controlled AF test sessions, I found some focus accurateness inconsistencies especially noticeable at the wide finish of the focal length range.

So, I theorized. The 150-600mm Sports lens showed very good focus accuracy. The same company introduced both lenses at nearly the same time, and so the same AF technology and algorithms were bachelor for each. The Contemporary'due south AF speed seems slightly faster than the Sports model and Sigma indicates that faster AF speed reduces focus accuracy. Thus, I theorized that irresolute the Contemporary's AF speed to the slowest selection might bring my accuracy results from this lens up to what I experienced with the Sports version.

I configured Custom Mode 2 for "Focus accurateness-priority" and retested AF accuracy. Unfortunately, this test proved my theory to be incorrect, showing the worst 150mm AF accuracy of the iv tests. Here are 100% crops taken from the center of the terminal half dozen 150mm test images.

The in-focus hit rate shown here was consequent throughout this examination. Often (but non ever), 600mm images will accept shallower depth of field, requiring ameliorate AF accurateness. While some focus accuracy inconsistency shows in the 600mm tests, the inconsistency is less significant than at 150mm. A lens that consistently focuses in front end of or behind the subject tin can be calibrated, using the Sigma Dock, Sigma Service or a photographic camera with AFMA capabilities, only an inconsistently-focusing lens is a bigger trouble. If yous run into this upshot, the all-time solution may be to take actress insurance shots.

A lens with the max apertures this i has does non require every bit much focusing precision as a 400mm f/2.eight lens for instance, and overall, this lens' in-focus hit rate was reasonable. Again, AI Servo results were like with a bulk of images being properly focused.

Note: Sigma has announced a firmware update for this lens. "It is expected to increase autofocus speed by approximately 20%, to a maximum of 50%, during normal shooting besides as when using "Speed Priority" prepare through SIGMA Optimization Pro." [Sigma]

By reducing the focus distance range the lens has to hunt through to find the correct focus distance, this lens tin can potentially lock focus faster. The focus limiter switch is designed for this purpose. Select between 32.viii'(10m) - ∞, 9.2'- 32.8'(2.8m - 10m) and the full range of focus distances. Don't like any of those options? The dock can be used to create your ain focus limit ranges, instantly selectable using the Custom Mode switch on the lens.

Focus scale issues can cause miss-focusing, which can strongly touch image quality. I did not have focus scale issues with this lens, just if encountered with your lens and camera combo, the dock tin can be used to right this problem. With dock compatibility, consequent front or back focus issues can be corrected in the lens at four focus distances for 4 focal lengths (150mm, 250mm, 400mm, 600mm).

The Sigma 150-600mm Contemporary Lens focuses quietly (unlikely to scare off your wild animals) with the typical shuffling of lens groups beingness just-audible in a very quiet environment. This lens focuses internally and FTM (Full Time Manual) focusing is bachelor. The front element does non rotate with focusing.

This lens is very close to existence parfocal. With Live View at 10x, focus acquired at 600mm remains virtually platonic while zooming out all the way to 150mm. Videographers especially capeesh parfocalness in a lens, and they will likewise appreciate the lack of focus breathing this lens shows. Subjects come up into and go out of focus very smoothly and stably with niggling or no change in their apparent size.

The 150-600mm Contemporary Lens' focus ring is rather small and with merely a small amount of raised ribbing on information technology, it is non the easiest to locate by touch. The 150° of rotation is great for precise focusing at the wide stop, simply rather fast for 600mm adjustments. An reward of a fast rate of focus change is that fast moving subjects are easier to track (just doing so requires skill). At times, this focus ring has exhibited an aggravating corporeality of slip-stick behavior that, when combined with the fast rate of aligning at 600mm, resulted in a frustrating manual focusing feel. As I'1000 verifying this experience prior to posting the review, the lens is working reasonably well and slip-stick is not as big of an issue. Perhaps at that place are specific conditions that cause the slip-stick behavior or perhaps that issue has smoothed itself out with use.

A considerable number of focus distances are marked in ft and chiliad inside the focus altitude window. Every bit clued past the focus limiter switch settings, this lens has a 110.2" (2800mm) minimum focus distance (MFD). At 600mm, this distance provides a moderate 0.20x maximum magnification (MM). Our MFD test showed that nosotros could manually focus this lens downwards to about ninety% of the rated MFD and in the field use has verified that noticeably more than magnification is available by using transmission focusing (see chipmunk prototype beneath).

Model	MFD		MM
Canon EF 70-300mm f/four-5.6L IS USM Lens	47.two"	(1200mm)	0.21x
Canon EF 100-400mm f/4.5-5.6L IS 2 USM Lens	38.4"	(975mm)	0.31x
Catechism EF 200-400mm f/4L IS USM Lens	78.7"	(2000mm)	0.15, 0.21x
Nikon 80-400mm f/4.five-v.6G AF-S VR Lens	68.ix"	(1750mm)	0.20x
Nikon 200-400mm f/4G AF-Due south VR Two Lens	76.8"	(1950mm)	0.27x
Sigma 150-500mm f/5-six.3 DG OS HSM Lens	86.6"	(2200mm)	0.19x
Sigma 150-600mm Os Sports Lens	102.4"	(2600mm)	0.20x
Sigma 150-600mm f/5-vi.3 DG OS HSM C Lens	110.2"	(2800mm)	0.20x
Tamron 150-600mm f/5-6.three Di VC USD Lens	106.three"	(2700mm)	0.20x

With 3 different 150-600mm lenses coming through the lab as of review time, one might get the impression that lenses of this focal length range must accept the same MM. The following paradigm features a 4" (102mm) peony flower captured at 600mm and MFD with the "Sports" version of this lens. The same epitome could exist captured with the Contemporary lens and its matching 0.20x MM capabilities.

This lens will non be confused with a macro lens, but ... it can fill up the frame with moderately small subjects at close altitude. Here is a Gimmicky lens-captured eastern chipmunk at (or very close to) the maximum manually-focused MFD:

For a modestly shorter MFD and a correspondingly college MM, apply extension tubes. The loss of infinity focusing is a notable penalization to using extension tubes.

For a more than significant magnification at any focus altitude with no alter in MFD, mount a Sigma Global Vision Teleconverter behind this lens. The addition of a Sigma TC-1401 1.4x Teleconverter creates a full frame 210-840mm f/7.1-f/9.0 OS lens. Magnifying the paradigm by 1.4x noticeably impacts image quality. Wide open 840mm f/9 sharpness is not practiced. Stopping down to at least f/11 improves results to almost bare lens at 600mm f/6.three image quality. The 1.4x increases CA modestly and as well increases barrel baloney slightly. The latter is really a positive modify every bit it reduces the native pincushion baloney.

Only cameras with f/eight max aperture-capable AF systems (including the Canon one-Series, 5D 3, 7D II) tin autofocus the west/1.4x combination and just the center AF point is available. Focusing remains quick, but focus hunting becomes more than common.

Use the Sigma TC-2001 2x Teleconverter to create a 300-1200mm f/10.0-thirteen.0 OS Lens. While the focal length range on this combo looks astonishing, the resulting epitome quality is ... downright ugly. Even stopped down 2/3 of a stop to f/16, the results are only marginably usable (beingness kind) with diffraction besides impacting image sharpness at this point. CA is again increased slightly and distortion remains similar to the with-1.4x results. With an f/ten max aperture, this philharmonic will not autofocus on any DSLRs using conventional phase detection AF and the viewfinder becomes very dark.

Use the image quality and distortion tools to meet the results of the with-extender combinations with your ain optics (links provided at the height of this review).

Build Quality & Features

While this lens is not built close to the military-course-like Sports version of Sigma's 150-600mm lens and despite the light weight, it has a nice build quality. Primary lens barrel construction is of Thermally Stable Composite (TSC) materials. TSC combines the characteristics of metallic and polycarbonate and has the thermal expansion/wrinkle properties of aluminum. "Since thermal shrinkage is low, [TSC] has a high affinity to metallic parts ..." [Sigma] and permits size reduction in other mechanical parts including the zoom band. TSC also has a considerably higher elasticity compared to Sigma'south other products and high precision TSC molds are easier to create.

Here is a await at the various positions of this lens:

Most of the very large lenses available today do not extend, thus the site'southward standard big lens images practise not maximize the views of extending lenses. This lens, reaching a long thirteen.66" (424.0mm) at the full 3.15" (80.1mm) extension with the hood installed, is likewise big to be contained within the site's smaller format lens product images. Because information technology is interesting to make comparisons between this lens and the smaller lenses, the 150-600 Contemporary is included in both of the site'due south product paradigm comparison tools. That some of this lens' images are cropped in the smaller lens format sample set is expected, simply I all the same find the inclusion of value.

The 150-600mm Contemporary is reasonably tightly built with a slight amount of play in the extended barrel.

I already mentioned that the focus ring is not the easiest to locate via tactile methods, but the large zoom band is the complete opposite. This lens design definitely prioritized the zoom ring. The crisply-ribbed, substantially sized prophylactic zoom ring is reasonably smoothen with some skid-stick when fine adjusting. Rotational resistance is rather smooth. This ring's 146° of rotation provides a nice rate of transition between focal lengths. The zoom ring rotates in the Canon-standard management (opposite of the Nikon standard).

Prefer a push/pull functioning zoom lens over the rotational design? This lens tin can exist used in that mode. While some twist-zoom lenses tin can exist extended and retracted past pushing and pulling their objective ends (including their hoods), Sigma makes this option official by providing a rubberized surface toward the terminate of the lens, facilitating button/pull zooming. This design works well for pushing the lens to a longer focal length, but ... retracting works best if more end of the lens surface is grasped (including the dorsum of the hood). Both zoom methods have advantages and disadvantages, and your zoom method can exist instantly changed at any fourth dimension.

This lens is advertised every bit having a dust & splash proof "mount". While this is meliorate than non having a sealed mount, grit and moisture should be avoided when using this lens. The front and rear elements of this lens receive a water & oil repellent coating.

While extending/retracting the lens in the management that gravity is pulling makes the zoom ring easier to plow/push/pull, the difference in rotational pressure required is relatively nice. No great effort is required to zoom to 600mm while following a bird in flight.

Gravity zooming will happen when conveying this lens, especially with the focal length set to the wide end. If the lens is pointed downward and some motion is happening (such as walking), the lens will gradually extend to a longer focal length. To prevent this upshot, Sigma provides a zoom lock switch.

As with most lenses having a zoom lock switch, this lens volition non extend even with pressure level applied when locked at the widest bending focal length. Unlike most lenses, both of the review-time-current Sigma 150-600mm lenses tin be locked at any marked focal length. While the lens cannot be locked at any of the in-between focal lengths, the marked focal lengths volition lock in place until a minor force per unit area is practical to the zoom ring or the end of the lens (or the switch is moved to the unlocked position). The lock volition not support a photographic camera resting on acme of the lens when sitting upright – the lens will retract in this state of affairs.

The lock switch along with a host of other switches can be seen in the image below.

Aside from the lock switch, 3-position switches are standard. It is easy to misposition a curt-throw iii-position switch such as these, but Sigma has done a nice job with the solid clicks these firm switches provide. Very nice is the white backgrounds on the AF and lock switches, visually indicating their set positions.

I'll talk more nearly the Custom switch under the dock subheading below.

Sigma has plainly fabricated lightweight a priority for this lens. Even though it packs a l% longer focal length, the 150-600mm Gimmicky lens weighs just about 12oz (340g) more the Canon 100-400mm L II and Nikon 80-400mm AF-S Lenses. This lens tin easily be handheld and used in this mode for long periods of time. I'm non maxim that you will not eventually go tired of holding this lens, but I am saying that well-nigh people will discover information technology very usable handheld in many situations.

Hither is a comparison chart to put everything in perspective.

Model	Weight		Dimensions w/o Hood		Filter	Year
Catechism EF 70-300mm f/iv-5.6L IS USM Lens	37.one oz	(1050g)	3.five 10 5.six"	(89 ten 143mm)	67mm	2010
Canon EF 100-400mm f/four.5-v.6L IS II USM Lens	56.1 oz	(1590g)	3.vii x 7.half-dozen"	(94 x 193mm)	77mm	2014
Canon EF 200-400mm f/4L IS USM Lens	127.8 oz	(3620g)	5.0 x xiv.4"	(128 x 366mm)	DI 52mm	2013
Nikon 80-400mm f/iv.v-five.6G AF-S VR Lens	55.4 oz	(1570g)	three.viii x 8.0"	(95.v ten 203mm)	77mm	2013
Nikon 200-400mm f/4G AF-S VR II Lens	118.6 oz	(3360g)	4.9 x xiv.iv"	(124 x 365mm)	mm	2010
Sigma 150-500mm f/v-vi.3 DG Bone HSM Lens	67.1 oz	(1900g)	3.vii x 9.nine"	(94 ten 251.5mm)	86mm	2008
Sigma 150-600mm f/5-half-dozen.3 Os HSM Sports Lens	101.0 oz	(2860g)	4.8 x 11.4"	(121.9 10 289.6mm)	105mm	2014
Sigma 150-600mm f/v-6.3 DG OS HSM C	68.ane oz	(1930g)	iv.ane ten 10.2"	(105 x 260.1mm)	95mm	2015
Tamron 150-600mm f/5-half-dozen.iii Di VC USD Lens	68.viii oz	(1950g)	4.ii 10 ten.1"	(105.half-dozen x 257.8mm)	95mm	2013
Canon EF 400mm f/4 DO IS II USM Lens	74.i oz	(2100g)	v.0 x 9.ii"	(128 x 232.7mm)	DI 52mm	2014
Catechism EF 400mm f/2.8L IS Ii USM Lens	135.9 oz	(3850g)	6.four x 13.5"	(163 x 343mm)	DI 52mm	2011
Canon EF 500mm f/4L IS Two USM Lens	112.6 oz	(3190g)	5.7 x fifteen.1"	(146 10 383mm)	DI 52mm	2011
Canon EF 600mm f/4L IS Ii USM Lens	138.iv oz	(3920g)	6.vi 10 17.6"	(168 10 448mm)	DI 52mm	2011
Nikon 500mm f/4G AF-S VR Lens	137.0 oz	(3880g)	five.five x fifteen.4"	(139.five x 391mm)	52mm	2007
Nikon 600mm f/4G AF-South VR Lens	178.half-dozen oz	(5060g)	six.5 x 17.five"	(166 x 445mm)	52mm	2007

For many more comparisons, review the complete Sigma 150-600mm Bone Sports Lens Specifications using the site's Lens Spec tool.

While many combinations of lenses tin be positioned next to each other using the site's Product Image Comparison Tools, here is a visual comparison that I wanted to see:

Positioned above from left to right in their fully retracted positions are the following lenses:

Tamron 150-600mm f/v-6.iii Di VC USD Lens
Sigma 150-600mm f/5-6.3 DG Bone HSM Gimmicky Lens
Sigma 150-600mm f/5-six.3 DG OS HSM Sports Lens
Catechism EF 100-400mm f/4.v-5.6L IS II USM Lens
Nikon 80-400mm f/four.5-five.6G AF-South VR Lens

All of these lenses extend significantly and the addition of their hoods significantly increases their overall size. Employ the site's tools to make specific comparisons.

The Sigma 150-600mm Contemporary lens' tripod ring is included in the box. While this lens will be handheld a lot, it volition also be commonly used on a tripod or monopod. Balancing a long lens over a tripod ring works much better than the torque-inducing camera body mountain option.

Sigma has done a nice job of balancing functionality with low-cal weight on this tripod band blueprint. While a firm clasp tin can cause the ring to flex modestly, information technology is quite solid for its size.

The tripod foot has i ane/4" threaded insert zipper point. If attaching a lens plate to this human foot (or any other single-insert human foot), a model with anti-twist nubs should exist selected. My choice for this and similar lenses has been a Wimberley P30 Lens Plate. A lens plate such as this one sliding in a clamp provides a range of options for balancing the lens.

The tripod band lock knob is positioned low on the lens. I detect this location to exist non as optimal for use every bit the higher-mounted lock knobs such as that on the 150-600mm Sports lens, merely it is easier to rotate the human foot and knob out of the way when not in utilise. The tripod band is relatively smooth with only modest skid-stick behavior showing just before fully tightened. Detents are not provided at ninety° rotation settings as with some higher grade options. The tripod collar has a unmarried attachment axle at the dorsum of the foot for mounting the included neck strap.

Desire to shed another 3.7 oz (130g)? Remove the tripod band. By loosening the lock knob, rotating the band to the indicator mark and pulling rearward, the tripod ring slips off of the dorsum of the lens. A camera cannot be mounted while removing the ring and the collar mounting bolts used past the ring are and then exposed. Sigma has addressed the exposure issue by providing a comfortable silicone/rubber-like protective embrace equally seen below.

This ring is a swell thought. A house aligned-press installs the ring and it stays in place nicely. Removal of the tight ring is a bit challenging.

Even the Sigma 150-600mm Contemporary Lens' included LH1050-01 Hood is carefully designed for light weight.

While it is not flimsy, this plastic hood is significantly different than the Sports lens' very solid metal hood. This is a bayonet mount (push on and twist to lock) style hood with a flat front end that permits the lens to be advisedly placed upright on a smooth, level surface (ideal for resting arms). Molded in ribbing at the end of the hood adds a grip surface to facilitate installation and removal. The ribbing also aesthetically enhances the hood.

This lens utilizes 95mm spiral-on filters. While not as big equally the Sports lens' 105mm filters size, in that location are non a lot of other lenses to share 95mm filters with. Large filters are also more expensive than smaller filters.

The Sigma 150-600mm Contemporary Lens ships with a prissy zippered, padded nylon case with a removable shoulder strap (shown beneath) that attaches to the sides of the case.

As with the balance of Sigma'south similar cases, I would notice a few additional inches of length useful, allowing a mounted DSLR to fit inside.

Sigma Global Vision and the Dock

Sigma's Global Vision lenses (this is ane) get a classification of "A", "C" or "Due south", representing a primary Sigma-intended designation of "Creative", "Contemporary" and "Sports". A full description of these categories can be institute in the Sigma 35mm f/1.iv Art Lens press release.

Equally I've overstated, I am not a fan of the rather narrow categorization structure. This lens gets an "C" stamped in a swish chrome circle on the lens butt. While "Artistic" and "Sports" requite direction toward their suggested utilize, "Contemporary" is more vague. Are not all lenses beingness newly introduced "Contemporary"? What happens when "Contemporary" lenses reach 10 or 20 years of historic period? While it is currently "Contemporary", this lens works nicely for sports photography and is at least as well-suited for wild fauna photography, which lacks its own category. At that place is no reason why creative images cannot exist captured by this lens.

I accept likewise not been shy about stating that I am a fan of what Sigma is doing with the Global Vision lineup. Just don't limit the lens' utilize to their letter designation.

A great characteristic of the Global Vision lenses is compatibility with the Sigma Dock. The dock, working in conjunction with the Sigma Optimization Pro software, allows the lens' firmware to be updated (bug fixes, compatibility updates, feature enhancements, etc.) and allows precise autofocus calibration at 4 distances for four focal lengths. The post-obit screen captures were made with the Sports version of the lens sitting in the dock, but the Gimmicky version has the same options.

The second row of options illustrate what is bachelor for programming into the C1 and C2 Custom switches. These settings become immediately available at the throw of a switch. I currently have Custom switch one programmed to "Motor'southward drive speed priority" and "Dynamic View Manner".

Cost and Compatibility

While this is not a cheap lens, it does wear a very good value price tag. Though priced but above of the Tamron choice, it is practically half the toll of the Sigma Sports choice. An in-the-field failure of one of the less-ruggedly built lenses may leave you regretting the conclusion to save money up front. The shoulder pain caused by the heavier Sigma option may leave you regretting not having the lightweight option.

The Sigma 150-600mm OS Contemporary Lens is bachelor in Canon (reviewed), Nikon and Sigma mounts. This lens qualifies for Sigma's Mount Conversion Service in instance you change your mind.

My standard disclaimer: There are potential issues with third party lenses. Since Sigma reverse engineers (vs. licenses) manufacturer AF algorithms, there is always the possibility that a DSLR body might not support a (likely older) third political party lens. Sometimes a lens can exist made compatible by the manufacturer, sometimes non. At that place is also the risk of a trouble that results in the lens and body manufacturers directing blame at each other. Compatibility with the Sigma USB Dock is chance reducing as Sigma can release firmware updates for dock-uniform lenses. Sigma U.s.a.'s 4-year warranty is superior to Canon's standard 1 yr warranty (Sigma's international warranty is also 1 yr).

Unlike the Sports version of the 150-600, the Contemporary striking the market place and became readily available, showing in stock from day i. Obtaining a retail copy of this lens for review proved piece of cake.

Alternatives to the Sigma 150-600mm Os Gimmicky Lens

The 150-500mm f/5-6.3 DG OS HSM Lens was Sigma's prior entry into this lens class. Comparing the Sigma 150-600 Sports to the Sigma 150-500 Os shows the new lens having a very strong advantage at the long cease. I would rather have any of the 150-600mm lenses over this earlier model.

Sigma produces one of this lens' strongest competitors, the as-frequently-referenced Sigma 150-600mm f/five-6.iii DG Os HSM Sports Lens. The Sigma 150-600 Sports vs. 150-600mm Gimmicky lens comparing is an interesting one.

I expected the "S" version to be superior optically, but that is not completely how the results turned out and when discerning betwixt the ii lenses, Sigma U.s. states: "Exemplifying the outstanding performance of the Gimmicky line, this lens offers the same high optical performance in a lightweight package ideal for a wide diversity of photographic scenes." At first glance at the image quality results, these ii lenses may announced to share the same optical construction, but a expect at the internals shows the elements and groups counts being different. The max discontinuity step-downwards, every bit shared in the table early on in this review, is also different with the "C" having a slight reward.

Looking at the wide open aperture image quality results, I run into the "C" lens having a very slight advantage in the center of the frame at wider than 300mm focal lengths and at 300mm, the "C" wins more noticeably overall. At 400mm, the two are very similar with the "C" having a slight edge in the corners. The differences at 500mm are not going to show in real life images. At 600mm, the most important focal length for a significant percentage of the target marketplace for this lens, the "Southward" has an edge. Stop downwardly to f/8 and paradigm sharpness beyond the entire focal length range isn't a factor in this lens selection decision.

The Sports lens has slightly less distortion and slightly more flare overall.

Here is a list showing differences between Sigma's Sports and Gimmicky versions of the 150-600mm lenses:

• Sports lens is almost 2x more expensive
• Sports lens is significantly more-ruggedly constructed
• Sports lens is significantly heavier – including the hood, measured in-utilise weights are half-dozen.96 lbs (3.16kg) compared to 4.49 lbs (2.04kg)
• Sports lens is moderately larger in both length and diameter (especially with the hoods in place) and the zoom extension is a bit longer
• Contemporary lens has a 1/3 stop wider aperture over a modest subset of the focal length range
• Contemporary lens has a larger zoom ring with no contour in diameter mid-ring
• Both lenses feature a rubberized push/pull zoom grip surface, only the Sports has a ridge for a more-certain pull-back grip
• Sports lens has a more-serious manual focus ring that is significantly larger and noticeably smoother with much more grip surface
• Based on side-by-side testing at multiple times, my perception is that the Contemporary focuses slightly faster, just the Sports is more consistently accurate at the broad stop
• Contemporary lens utilizes smaller (but still large) 95mm filters vs. 105mm
• Contemporary zoom ring rotates 146° vs. the Sport's 126°
• Sports lens has very rigid aluminum hood with rubberized terminate and thumbscrew lockdown vs. bayonet mount lightweight plastic hood
• Sports lens has a large nylon wrap-effectually lens cap while the Contemporary has a conventional clip-on cap
• Sports model has a smoother and stronger non-removable tripod mount band and pes with a better-positioned lock knob, click detents at 90°, a much larger (and removable) foot with three threaded inserts (vs. 1) and dual cervix strap attachment points
• Contemporary model has a removable tripod mount ring with a condom-like replacement ring
• Contemporary lens has a lower profile switch banking company
• Sports lens has dust & splash proof "structure" while the Contemporary has a grit & splash proof "mount"
• Sports lens has two FLD ("F" Low Dispersion with performance similar to fluorite) and three SLD (Special Low Dispersion) glass elements vs. one FLD and three SLD glass elements
• Sports lens has 24 elements in 16 groups while the Contemporary has 20 in 14
• Sports model has a classier advent
• Sports lens has integrated shoulder strap on the back of its case while Contemporary lens has a removable neck strap that attaches to opposite sides of its case

I can tell yous from many hours of utilize of both lenses, the Sports model is congenital for professional utilize and the Gimmicky model is the much more comfortable handheld selection.

The "Which is meliorate?" question is frequently existence aimed at the Sigma 150-600mm f/five-6.3 DG OS HSM Contemporary Lens and the Tamron 150-600mm f/5-6.3 Di VC USD Lens, the kickoff major entry into the 150-600mm lens category. These two lenses are direct competitors, sharing many features including USD/HSM AF, OS/VC, build quality and lightweight blueprint. From the paradigm quality perspective, hither is the Sigma 150-600 Contemporary Lens vs. Tamron 150-600 VC Lens comparison.

At the wide finish of the focal length range, the Sigma is sharper with a wide open aperture. The Tamron is 1/3 stop wider at some of the comparison focal lengths (200mm and 400mm) and to be fair, I am comparison those focal lengths at the widest equal aperture. At 200mm, these ii lenses are very similar in sharpness wide open. At 300mm, I'll give the Sigma a slight advantage and at 400mm through 500mm, the slight reward swings to the Tamron, though the Sigma's corners are better at 500mm. At 600mm, the Tamron has a very slight center-of-the-frame advantage and the Sigma has a larger corner-of-the-frame advantage.

Stopping down to f/8 reduces near of the sharpness advantages one lens has over the other. The Sigma has sharper corners at 150mm and 500mm, only the Tamron has sharper corners at 400mm. The Sigma is noticeably sharper at 600mm, especially in the mid and peripheral portions of the image circle.

The Tamron has slightly stronger pincushion baloney and has more noticeable CA. The Sigma has more vignetting with a broad open discontinuity, averaging roughly .5 stops of stronger corner shading over most of the focal length range except at the 600mm end where the difference is just nigh .2 stops. Stopped downward to f/8, the vignetting divergence at the long end remains small, but the Tamron holds an edge in the wide stop corners. Corner shading differences at f/xi are not going to be noticeable except perhaps in 300mm corners.

This image quality comparison does non place either lens with a articulate atomic number 82 and either lens tin exist justified, perhaps with decision emphasis beingness placed on the focal length expected to exist most-valued. Here is a list showing additional differences between the Tamron and Sigma Contemporary versions of the 150-600mm lenses:

• I found the Tamron'southward autofocus to be more consistently accurate at the wide cease, simply the Sigma's was more accurate at the long end.
• The Tamron is modestly less expensive.
• The Sigma has an optional dock, with various advantages including custom switch programing, AFMA, firmware update capability, and much more.
• The Sigma is extender compatible.
• The Tamron has slightly wider (ane/3 end) apertures over some of the focal length range.
• The Sigma'southward OS system offers mode 2 and I constitute the Sigma'southward stabilization to be more constructive at the long finish of the focal length range.
• The Sigma's zoom rotation direction is the same equally Canon'southward; the Tamron's zoom rotates in the reverse (Nikon standard) direction.
• The Sigma'southward focus band has modestly more rotation (150° vs. 120°).
• The Tamron has a smoother, larger, easier-to-use transmission focus band.
• The Sigma has a smoother bore.
• The Tamron has lower contour switches.
• The Sigma better-facilitates push-pull employ.
• The Sigma has a multi-position focal length lock while the Tamron only locks at 150mm.
• The Tamron weighs slightly more, but has a 2x heavier tripod ring, allowing it to weigh slightly less with that ring removed.
• The Sigma has a replacement ring for the removed tripod ring.
• The Tamron'southward hood is larger.
• The Tamron focuses slightly closer, simply shares the Sigma's 0.20x maximum magnification spec.
• The Tamron's warranty is 6 years vs. the Sigma's 4 yr warranty (in the United states of america).

Which lens is meliorate? I don't call up that there is a right or wrong reply here, only I lean toward the Sigma, partially because these lenses are going to most frequently exist bought for and used at the 600mm focal length and, at least at f/8, the Sigma holds the optical advantage at 600mm.

Another comparison that some will consider relevant is the Sigma 150-600 Contemporary compared to the Canon 100-400mm L IS Two Lens. The Catechism is defective a pregnant 200mm on the long finish, but this lens is Canon's longest small-class-factor zoom and it is a very impressive performer. The Canon bests the Sigma in sharpness and dissimilarity over the entire shared native focal length range. Add a 1.4x to become the Canon up to 560mm the Canon is even so at least as sharp, though the extended Canon lens has a narrower max aperture at 560mm (f/8.0 vs. f/6.3). The Canon has wider native apertures than the Sigma. The Canon has a significantly college MM (0.31x vs. 0.20x), is smaller in size and is modestly lighter in weight. The Canon is significantly more expensive and focuses more accurately.

Employ the site's diverse tools to make your ain comparisons, including with the many lenses I did not specifically include hither.

Summary

Looking for a lens that will bring your subjects in close without spending a huge sum of money? Desire to be able to bear long focal lengths for long periods of time without significant fatigue? This lens may have your name on it.

There volition exist a lot of parents chasing their kids through life with this lens mounted, at that place will exist a lot of wild fauna looking into this glass and there will exist neat amounts of sports activeness followed through this lens. Excepting some focus inconsistency, this lens performs very well both physically and optically. The Sigma 150-600mm f/5-6.3 DG Bone HSM Contemporary Lens provides a slap-up range of very long focal lengths in a relatively lite weight and low-priced packet, making it well suited for a broad diversity of "Gimmicky" uses.

Bringing you lot this site is my total-time job (typically lx-lxxx hours per calendar week). Thus, I depend solely on the commissions received from you using the links on this site to make whatever purchase. I am grateful for your support! - Bryan

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Source: https://www.the-digital-picture.com/Reviews/Sigma-150-600mm-f-5-6.3-DG-OS-HSM-Contemporary-Lens.aspx

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