Sigma 745101 150 - 600 mm F5 - 6.3 DG OS HSM Contemporary Canon Mount Lens, Black

Product Information

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. Although Tamron pioneered the release of the first 150-600mm lens, Sigma followed suit by releasing two versions of lenses with exactly the same focal length and aperture ranges. The smaller and lighter version, the Sigma 150-600mm f/5-6.3 DG OS HSM Contemporary (the one we are reviewing today), targets the same market as the Tamron 150-600mm f/5-6.3 Di VC USD, while the much larger and heavier “Sport” version is something unique to Sigma, with no other equivalent competing offers from any other manufacturer. an important factor considering that most consumers purchasing a 150-600mm lens likely intend to utilize the longest focal length a significant percentage of the time. If there's a weak spot for the Sigma 150-600mm in comparison to its nearest rivals, it would have to be its autofocus performance. That's not to say it's bad, necessarily; it's still fairly responsive and as you can see from our galleries it's still up to tasks like wildlife or sports photography. But its stepping motor-based autofocus drive is definitely not as swift as the linear AF used in E-mount competitors from Tamron and Sony.

Of course, that wouldn't matter if the lens itself was no good. Fortunately, it's excellent. The optical path is a little different from the DSLR version, including 25 elements arranged in 15 groups, and it produces impressive sharpness throughout the entirety of the zoom range. There's some inevitable fall-off in the corners, but not enough to worry about, and it's the sort of thing that will be hidden anyway when you're shooting with a shallow depth of field. Astonishingly my Canon EOSR with EF Adapter reads lens correction data and corrects automatically for falloff (peripheral illumination), lateral color fringes (chromatic aberration), distortion and diffraction. You can turn each of these ON or OFF in various ways. My Canon 5DS/R doesn't have the ability to correct distortion; that's a limitation of this model camera. If this crop is about 6" (15cm) wide on your screen, then the complete image printed at this same extreme magnification would be about 29×43" (2.4×3.6 feet or 0.75×1.1 meters).

Introduction

The moon barely fit the APS-C frame as you can see here, and yes, the EOSR easily autofocused at the f/18.5 that results when using both converters at the lens' 600mm setting. AF isn't that great with this extreme setup with an off-brand lens at 1,680mm total for most shooting, but for something simple like the moon, it works great. The lens that started it all, the Tamron 150-600mm f/5-6.3 Di VC USD Lens, burst onto the scenes in 2013 and was immediately a popular choice for sports and wildlife photographers whose budgets did not

The following year saw Sigma introducing a pair of similar lenses – the 150-600mm f/5-6.3 DG OS HSM Sports & Contemporary models. Now Tamron has released an update to their original lens, adding a "G2" tag to the name. Thanks to incorporating optical glass elements this lens minimises chromatic aberration providing users with best-in-class image quality. One "F" Low Dispersion (FLD) glass elements (providing equal performance to fluorite) along with three Special Low Dispersion (SLD) glass elements have been included in the lens design to achieve this. Compatibility:

Other

The 6m-∞ position prevents the lens from autofocusing closer than 6 meters (20 feet). Use this setting only if you're having a problem with the lens attempting to focus on irrelevant close items, or if for some reason the lens is "hunting" from near to far looking for distant subjects. Considering that neither Canon nor Nikon makes a native 150-600mm lens, it seems a bit odd to be spoiled for choice in this particular market segment.