Sigma calls their vibration reduction system Optical Stabilizer. Sensibly, they don’t make any marketing claims with this lens that it will give you an extra such and such number of stops. And in my experience, it simply doesn’t work as well as the systems on other lenses. It wouldn’t surprise me if they used an older, cheaper generation of OS technology on this lens, but I don’t know that for sure. An “Sigma Otimization Pro” software update to allow a custom OS configuration. I suggested that instead of 3 options, Dinamic, Standard and Moderate, there was a fourth option fully customized by the user that could choose the percentage of OS in each of the axes (X,Y)! The Sigma 60-600mm covers a uniquely huge zoom range. It's also super-sharp, even in the center at 600mm, and focuses fast. If you don't mind the huge size, weight and expense, it's a swell lens.

Have you had your hands on then Canon 100-400 II? I would be interested in your take on whether you feel it is worth it to spend the extra cash on the Canon L glass, and how the shorter focal lengths may affect my photography goals… figure I’ll get looks at whales, and other Alaskan wildlife during the trip. I also have a Canon 70 – 200 F2.8, Canon 24 – 105 F4, and a Canon 24 – 70 F2.8. What would you recommend as a good wide landscape lens… I’d love to to have the Canon 24 aspherical, but that’s another 2 grand! I should also mention that I have a trip to the Bavarian section of Germany next summer…. I be interested in your lens choices (ones to carry) for each of these trips! The Moon, 0246 UTC 26 October 2018. Canon EOSR, 1.6x APS-C crop, EF Control Ring Adapter, Extender EF 1.4x II, Extender EF 2x II and Sigma 60-600mm set to 600mm, giving an effective 1,680mm focal length, 1/30 at ISO 1,600 at full aperture. bigger. Autofocus: All lenses in this comparison offer autofocus with built-in focus drive. Manual-focus override is by simply turning the dedicated focus ring. The focus ring on the Sigma 150-600 DN has the usual variable gearing of an original mirrorless design which allows for very precise manual focus when turned slowly but cannot be switched to linear gearing. Which makes smooth focus pulling for videographers almost impossible. The Sigma 150-600 HSM Sports and the Tamron 150-600 has the usual direct coupling and linear gearing of a lens designed for DSLRs and the Sony 200-600 also offers linear response for MF. [+]Even if you go out of your way to turn off automatic correction or are shooting this on film, even without correction there is no visible distortion except at 60mm. There is no visible distortion from 100-500mm, and even at 600mm it's mostly invisible even uncorrected. You might want to use a tripod with teleconverters since the apertures become so slow that ISOs will have to climb to keep shutter speeds hand-holdable, which leads to softer images. Outdoors you might need ISO 3,200 to shoot at 1/1,000, for instance. Manual focus is excellent. It has a direct-coupled mechanical manual focus ring you may move at any time for instant manual focus override. It works in any position of the AF-MO-MF switch. This is designed for Nikon D5, Df, D610, D800, D800E, and much more with the same serial number. More it includes a focal length of 18-105mm with the lens type telephoto.

Teleconverters. It’s compatible with two teleconverters. The Sigma Tele Converter TC-1401 is the best bet. It gives 1.4x magnification (and drops a little light), turning the lens to a 210-840mm f/7-9. The TC-1401 is also compatible with AF on some camera (I recommend investigating the combination with your specific camera model further before purchasing). Sigma also offers a 2x telec An example of this is the Tamron 70-200, which doesn't reach nearly 200mm when compared to the Nikon and Canon version. I am waiting for your response to this problem which leaves me partly unsatisfied with this excellent lens. However, this difference in the physical length also affects the way the lenses are engineered, and means that the Sport version has a larger front element which requires 105mm filters, while the Contemporary takes 95mm filters.In terms of features, the Sigma 150-600mm f/5-6.3 DG OS HSM Contemporary offers everything that you need from a professional telephoto zoom lens. This very usefully includes built-in Vibration Reduction, activated by the OS switch on the lens barrel, which offers around 4 stops of compensation. The OS system has two modes - mode 1 is suitable for general photography, and mode 2 is best for panning shots of moving subjects in a horizontal direction (not vertical).

I re-equipped over the past 12 months, and although I’ve always been a Zeiss addict, I really didn’t feel like lashing out on a Zeiss wide angle, standard and tele lens for my D810. Instead, I went for two Sigma ART prime lenses to cover the wide angle and standard lens, and I make my Zeiss Makro-Planar do double duty, as a stand-in tele lens (as well as a macro). I tried Nikon’s105 Macro, but didn’t like it – yes I know the Zeiss is 1:2 and strictly not a macro, but I get great shots with it so I don’t care – the purists can have their opinions, so I can have mine, too. With care, it is possible to take sharp images hand held using the image stabiliser at shutter speeds as low as 1/80sec, around half the time. This is roughly three stops slower than the usual rule of thumb for shooting hand held will allow. Sigma 150-600mm f/5-6.3 DG OS HSM C PerformanceInside this box are two folded cardboard ends holding the lens, hood and caps in its case, as well as USA warranty paperwork, folded multi-language instruction sheet and an Allen wrench and spare screws for the tripod collar foot. There is also a 105mm snap-in front cap in the bottom of the box you might not notice. This Sigma is as expensive as camera-brand lenses but offers a greater zoom range. Its zoom range is so broad that if you don't mind hauling it everywhere (I do), that it replaces both a 70-200 and a 200-600mm lens — so then it's not that expensive anymore. If you go out of your way to turn correction off or are shooting on 35mm film, falloff is invisible at every setting except wide-open at 60mm and 600mm, where there is just a little bit that goes away as stopped down. The rule of thumb when shooting with long focal lengths is to set the shutter speed equal to, or greater than the focal length, so remember that when by adding the 1.4x TC to a 600mm, one is now shooting at 840mm on a full frame, and 1260 mm on a crop sensor. For sharp images, a shutter speed over 1/1000th of a second is a must.