Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS (Optical Stabilizer) Review for Nikon Cameras

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Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS

Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS on the Nikon D3200

Browse Navigation:

  1. In short
  2. History
  3. Main Specifications
  4. Assembly
  5. LOCK Button
  6. Stabilizer
  7. Aperture Features
  8. Focusing
  9. The effect of F / 6.3 on focus
  10. Image quality
  11. Sample Photos
  12. Prices / where to buy
  13. Alternatives
  14. My personal experience with the lens
  15. Results
  16. User Comments
  17. Add your review or question on the lens

In this review, the Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS (Optical Stabilizer) lens will be abbreviated as 'Sigma 18-250mm f / 3.5-6.3'. Here I am reviewing the version for Nikon DX cameras.

In short

The Sigma 18-250mm f / 3.5-6.3 is a versatile lens for cameras with an APS-C sensor. The lens uses a very wide range of focal lengths and can shoot in both wide-angle and telephoto ranges. Interesting is the image stabilizer, ultrasonic focusing motor, internal focusing and small size (folded). Overall, the Sigma 18-250mm f / 3.5-6.3 delivers the image quality you'd expect from such a super zoom. I would jokingly add that the image quality is inversely proportional to the zoom ratio.

This model is outdated and, at one time, was replaced by Sigma Zoom DC 18-250mm 1: 3.5-6.3 Macro HSM OS (Optical Stabilizer).

Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS

Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS


The Sigma 18-250mm f / 3.5-6.3 was the first Sigma lens with this focal length and, at the time of its announcement, had the largest zoom ratio of any Sigma lens. The Sigma 18-250mm f / 3.5-6.3 complements Sigma's shorter range of 18-200 / 3.5-6.3 class lenses.

The first Sigma class 18-200 / 3.5-6.3 hyperzoom was introduced in early 2005, six months earlier than the original Nikon 18-200 / 3.5-5.6 VR and 3 years earlier than the original Canon 18-200/3.5-5.6 IS. In the future, the line of lenses was refined and underwent many various changes. And due to the fact that Sigma also produces lenses with different mounts, for Nikon, Canon, Pentax, Sigma, Sony / Minolta systems, there can be a huge number of different sub-versions and versions of the same model. I divided the main versions according to optical schemes:

  1. Sigma Zoom DC 18-200mm 1:3.5-6.3 [EF, F, K, SA, A], February 2005, scheme 15/13, with red ring and velvet body, macro 1:4.4, without stabilizer, with micro motor [but only for Canon EF-S]. Since December 2007, a micro-motor has also been built into lenses for Nikon (before that, there was no focus motor in the lens). This lens was also produced under the name Quantaray 18-200mm 1: 3.5-6.3 Dio Multi-Coated.
  2. Sigma Zoom DC 18-200mm 1: 3.5-6.3 (+ -HSM) OS (Optical Stabilizer) [EF, F, K, SA, A], September 2006, scheme 18/13, velvet (2006) or black (from August 2007) body, macro 1:3.9. The kind of velvet version I have shown here. Nikon cameras only have 'HSM' written on them. For Pentax, Sigma, Sony/Minolta and Canon cameras, the lens comes without the 'HSM' motor. In the Sigma and Canon version, the lens uses a conventional micromotor. Versions for Sony / Minolta and Pentax do not have a built-in image stabilizer (possibly without a built-in focus motor). Versions released after March 2007 differ from earlier versions in that the 'Optical Stabilizer' label is in a different location (to the left of the 'LOCK' button). Individual specimens differ in the structure of the rubber on the zoom ring. Earlier versions have a Sigma velvet case, while newer versions have a classic black one. This lens was also produced under the name Quantaray 18-200mm 1: 3.5-6.3 Dio OS (+ -HSM) Multi-Coated.
  3. Sigma Zoom DC 18-200mm 1: 3.5-6.3 II HSM OS (Optical Stabilizer) [EF, F, K, SA, A], October 2011, scheme 18/14, with red ring, macro 1:3.8. The Sony/Minolta and Pentax versions do not have a built-in image stabilizer.
  4. Sigma DC C 18-200 mm 1:3.5-6.3 Macro OS HSM (Contemporary, Optical Stabilizer) [EF, F, K, SA, A], January 2014, scheme 16/13, macro 1:3. The Sony/Minolta and Pentax versions do not have a built-in image stabilizer.

A line of similar lenses supplemented with super-zooms with a slightly higher zoom ratio:

  1. Sigma Zoom 18-250mm 1: 3.5-6.3 DC OS HSM (Optical Stabilizer), January 2009, 18 elements in 14 groups, macro 1:3.4
  2. Sigma Zoom 18-250mm 1: 3.5-6.3 DC OS HSM MACRO (Optical Stabilizer), June 2012, 16 elements in 13 groups, macro 1:2.9 (best in series)
  3. Sigma 18-300mm 1: 3.5-6.3 DC OS HSM MACRO | C (Contemporary, Optical Stabilizer), September 2014, 17 elements in 13 groups, macro 1:3

The easiest way to identify the newer Sigma 18-250mm f / 3.5-6.3 is the 'MACRO HSM' lettering next to the focal length markings or 'DC MACRO OS' near the front lens. Although the first version lacks the 'MACRO' prefix, it can focus very close. The difference in the ability to shoot at close distances is not significant enough to pay much attention to. In all other respects, these two lens models are very similar, the main differences are their different optical schemes and physical dimensions.

Most likely, the line of Sigma 18-250mm f / 3.5-6.3 lenses will no longer develop, as a longer version was released - Sigma C 18-300mm F3.5-6.3 DC MACRO OS HSM.

Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS

Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS

Main technical characteristics of Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS (Optical Stabilizer):

Review Instance Name The lens barrel has the following inscriptions' Optical Stabilizer SIGMA DC 18-250mm 1: 3.5-5.6 HSM MACRO 0.45m / 1.48ft ', the border near the front lens says' Sigma Zoom 18-250mm 1: 3.5-6.3 DC OS HSM ø72 LENS MADE IN JAPAN ', the review presents the lens with serial number 11881176
Basic properties
  • DC - the lens is designed for SLR cameras with an APS-C sensor, in this case it is an analogue 'Nikon DX'
  • ZOOM - the ability to change the focal length of the lens
  • LOCK - button for fixing the zoom ring at 18 mm.
  • HSM (Hyper Sabout nothing Motor) - ultrasonic focusing motor, in this case it is analogous to 'Nikon SWM'
  • AF / M - simple focus mode switch
  • OS (Optical Stabilizer) - built-in optical stabilizer, in this case it's analog 'Nikon VR'
  • IF (Iinternal Focusing) - internal focus
  • Super Multi-Layer Coating - super multicoated optics
  • ASP (Aspenherical) - aspherical elements in the optical scheme
  • SLD (Special Low Dispersion) - special low-dispersion elements in the optical scheme to combat chromatic aberrations. Analog 'Nikon ED'
  • MACRO 0.45m / 1.48ft - scale for macro photography, it is possible to shoot at very small focusing distances with a maximum magnification of 0.29X
  • Lack of aperture control ring, analog 'Nikon G'
  • Bayonet hood included
  • Relatively small size and weight
  • Has a TIPA Award
Front Filter Diameter 72 mm
Focal length 18-250 mm EGF for Nikon DX cameras is 27-375 mm
Zoom ratio 13.89 X (usually rounded to 14)
Designed by for Nikon DX digital cameras, there are modifications for other systems
Number of aperture blades 7 rounded petals
Tags focusing distance in meters and feet, focal length values ​​for 18, 24, 28, 35, 50, 135, 250 mm, mark of bayonet mount and hood mount / fix. There are labels for the magnification, from 1: 12.8 to 1: 3.4
Diaphragm 18 mm from F / 3.5 to F / 22. 250 mm from F / 6.3 to F / 40. The lens is deprived of the aperture control ring, control occurs through the camera menu (analog Nikon G - lens type)
MDF 0.45 m, maximum magnification ratio 1: 3.4 (according to actual tests 1: 4)
The weight 628 g
Optical design 18 elements in 14 groups, 4 aspherical ASP elements (in the optical diagram, aspherical elements are shown in blue) and 3 low-dispersion SLD elements (in the optical diagram are shown in pink)

Optical design Sigma 18-250

Image of optical circuit clickable

Lens hood LH780-04
Manufacturer country LENS MADE IN JAPAN (Lens made in Japan)
Production period From January 2009 to June 2012, it was later replaced by a similar version - Sigma Zoom DC 18-250mm 1: 3.5-6.3 Macro HSM OS (Optical Stabilizer)
Official sources Official site
Price  About $ 400

The first such lens was the Tamron AF 18-250mm F / 3.5-6.3 Di II LD Aspherical [IF] Macro (Model A18 N), which was announced in September 2006, which is 3 years earlier than the Sigma 18-250mm f / 3.5 -6.3. Nowadays, Tamron continues to be the first to produce lenses with an increasing zoom ratio. Even giants such as Nikon and Canon cannot keep up with the pace of focal length enhancement at Tamron's versatile super-zoom lenses. An example of such a lens is Tamron AF 16-300mm F / 3.5-6.3 Di II VC PZD Macro (Model B016).

In the review, I had two lenses at the same time: Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS and Sigma Zoom DC 18-200mm 1: 3.5-6.3 HSM OS, the latter was announced in early 2007, 2 years earlier. than the hero of my review. A twin shot of these lenses is shown at the end of this review. After a long discussion with these lenses, I came to the conclusion that the design of the Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS is completely copied from the Sigma Zoom DC 18-200mm 1: 3.5-6.3 HSM OS.

Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS

Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS


The Sigma 18-250mm f / 3.5-6.3 was manufactured in Japan. The lens is pleasant and weighty to the touch. The retractable body frame ('trunk') consists of 2 sections, which are strong enough without any backlash. Although the Sigma 18-250mm f / 3.5-6.3 is positioned as a low-weight model, 600 grams is no longer enough. In addition, the lens uses fairly large 72 mm filters. Updated version Sigma Zoom DC 18-250mm 1: 3.5-6.3 Macro HSM OS (Optical Stabilizer) It has become much easier and with a smaller diameter for light filters.

The case is completely black and does not have the characteristic Sigma velvet coating typical of old Sigma lenses. The focus and zoom rings are rubberized. The lens has metal bayonet mount.

There is a bayonet mount mark and a mark on the case for quick installation of the hood. The lens uses a plastic lens hood SIGMA LH780-04, which is fixed in special grooves located near the front lens of the lens. The hood can be installed in the opposite direction for transportation. In this position, access to the focus ring at 18 mm focal length is lost. When you change the focal length, the lens hood moves with the front of the lens.

Negative moments:

  • The zoom ring jerks around to move the zoom ring from 80mm to 135mm using a certain amount of force. When the lens is tilted downward and the focal length is 250mm, you need to apply even more force to retract the lens 'trunk'.
  • When changing the focal length, the rear lens moves in the middle of the lens body like a pump - it draws in and pushes out air. This behavior of the rear lens is called 'vacuum cleaner effect', which can increase the amount of dust that accumulates in the camera.
  • The copy that I reviewed has no obvious signs of wear and tear or long-term use, but, nevertheless, the lens barrel ('trunk') spontaneously changes its size under its own weight. The 'LOCK' button solves this problem in part.
  • The copy from the review has a slight backlash of the zoom ring (zoom).
  • If you shake the lens lightly, you will hear that something is hanging in the middle. Perhaps these are parts of the stabilizer. This is observed in many lenses with a stabilizer.
  • Personally, I do not like the blackened screws that secure the plate with the stabilizer and focus mode switches.
Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS

Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS

Lock 'LOCK ′

Frame (trunk) for the Sigma 18-250mm f / 3.5-6.3 spontaneously changes its size under its own weight (perhaps this begins only with time). For example, when the camera is tilted down, the trunk of the lens spontaneously lengthens (focal length increases). To prevent such an unpleasant nuance, there is a focal length switch-lock 'LOCK' (the so-called 'lock') on the lens body, which tightly locks focal length at a value of 18 mm.

To fix the trunk of the lens, you must first set 18 mm focal length. Near the button there is a drawn arrow that indicates in which direction the switch should be moved to lock the lens.

The switch is located in a convenient place - under the thumb of the left hand, so the lens can be quickly and comfortably 'removed from the lock' before starting shooting.

However, when the lens is set to 18 mm, the frame does not lengthen spontaneously anyway, self-elongation begins if you move the ring from the 18 mm position. Perhaps, over time, the trunk of the lens begins to 'fall out' already at 18 mm focal length.

Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS

Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS


The Sigma 18-250mm f / 3.5-6.3 has built-in image stabilization. The stabilizer can compensate 4 stops by shutter speed. In numerical terms, this means that you can shoot at shutter speeds 16 times longer than what a lens without a stabilizer requires. For example, 250 mm without stabilizer excerpt about 1/320 sec., if you turn on the stabilizer, then the same still scene can be shot on shutter speed 1/20 sec

I was able to take pictures with my hands on shutter speed 1/30 sec and 250 mm focal length. During real filming, the stabilizer really helps, and the stabilizer itself works well.

On the case there is a stabilizer operating mode switch 'OS ON / OFF'. Where 'OS' is short for 'Optical Stabilizer'.

The stabilizer has own features. If you listen to the inside of the lens, you can hear a slight noise in the middle of the lens, even if the stabilizer is in the 'OFF' position.

When the camera is turned off, even if the stabilizer was in the 'OFF' position, JVI noticeably how the image twitches, and also the noise from the lens parking is heard - this is a sign that the stabilizer has turned off 'again'.

Also on my camera Nikon D3200, on which I tested this lens, the Sigma 18-250mm f / 3.5-6.3 does not automatically turn off the metering after the time interval specified in the settings. The stabilizer works for exactly 1 minute after its activation (turning on the camera and / or pressing the focus / metering button exposure) After one minute, the image in JVI, and you also hear noise from the lens parking when the stabilizer is turned off. In this way and the stabilizer and exposure meter with the camera turned on continues to work much longerthan with original Nikon Nikkor lenses. This could adversely affect the battery level. I observed similar unusual behavior of the stabilizer on other Sigma lenses (for example, Sigma Zoom 17-50mm 1: 2.8 EX DC OS HSM и SIGMA C 17-70mm 1: 2.8-4 DC OS HSM MACRO) On a fully charged battery Nikon D3200 I managed to get about 500 shots with the Sigma 18-250mm f / 3.5-6.3 and the stabilizer turned on.

The Sigma 18-250mm f / 3.5-6.3 variants for Sony and Pentax cameras do not have a built-in stabilizer, since the stabilizer is already present in the cameras of these manufacturers themselves.

Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS

Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS


Diaphragm lens consists of 7 rounded petalsUnfortunately, not a round hole is formed on strongly covered diaphragms, but polyhedra are obtained in the zone of blur from luminous objects (example) On diaphragms from F / 3.5 to F / 11, the hole is fairly even. Aperture range is available from F / 3.5-6.3 to F / 22-F / 40.

There are marks with a focal length on the zoom ring, the following is a list with the minimum numbers F available for these marks:

  • 18 mm - F / 3.5
  • 24 mm - F / 3.8
  • 35 mm - F / 4.2
  • 50 mm - F / 4.8
  • 80 mm - F / 5.3
  • 135 mm - F / 6
  • 250 mm - F / 6.3

Aperture F / 6.3 starts at 175 mm focal length.

Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS

Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS


To focus, the lens uses a special ultrasonic focusing motor  'HSM' (Hyper Sonic Motor). Although it is written everywhere that this technology uses silent focusing, in fact, the noise from focusing the Sigma 18-250mm f / 3.5-6.3 is audible. In general, the lens focuses quite quietly, but not silently.

When used on a camera Nikon D3200 with unpretentious Multi-CAM 1000 focusing system the lens often refocused during operation in the range of 80-250 mm. In low light conditions (but not in the dark), auto focus completely lost objects from the field of view, and the lens constantly fidgeted in search of focus. With good lighting, there weren’t so many misses in focusing that I started to get nervous. I believe that with cameras that have a more advanced focusing system, there will be less problems with focusing.

Auto focus speed average. Focusing time from infinity to MDF and back is approximately equal to that of the lens Nikon 18-200 / 3.5-5.6GII.

Focusing on Sigma 18-250mm f / 3.5-6.3 internal - when focusing, neither the front nor the rear lens rotates, and the lens itself does not change its size when focusing. Sorry, but during auto focus, the focus ring rotates and cannot be touched. In such Nikon lenses, the focus ring remains stationary during auto focus.

In manual focus mode, the focus ring rotates 45 degrees. Manual focus is very inconvenient.

The lens has a focus distance scale with marks in meters and feet. The scale is plotted on the focus ring. The scale is very meager, on it there are marks for only 5 values ​​of the focusing distance (including 'infinity').

The minimum focusing distance is only 45 cm (the distance from the camera’s matrix to the subject). With such an MDF, the maximum magnification factor is 1: 3.4 (my measurements showed a real coefficient of 1: 4). Thus, the lens allows you to shoot amateur 'close'. On the retractable frame of the case there are labels indicating the maximum magnification factor for certain focal lengths: 1: 12.8 (28 mm), 1: 10.5 (35 mm), 1: 7.8 (50 mm), 1: 5.6 (80 mm), 1: 4.3 (135 mm), 1: 3.4 (250 mm).

Note: if you shoot 'macro objects' located on a horizontal surface, then when focusing at the smallest possible distance, you can hook this surface onto the frame and / or hood.

The lens has focus mode switch 'AF / M'. For manual focusing, the lens must be set to 'M' mode, otherwise the focus motor may be damaged. Unfortunately, unlike many Nikon lenses of this type, the Sigma 18-250mm f / 3.5-6.3 does not support continuous manual focusing.

Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS

Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS

The effect of F / 6.3 on focus

The instructions for most Nikon cameras indicate the threshold for the maximum relative aperture of the lens with which correct auto focus will be available. Most Nikon cameras are designed for lenses only. no darker than f / 5.6. For example, camera Nikon D3200, with the help of which test shots were taken, theoretically should not work correctly with this lens. But still, as my practice has shown, in conditions with good lighting there are no special problems with automatic focusing even on cameras that are not designed to work with lenses with F / 6.3.

You can find a list of Nikon cameras whose focus sensors can easily focus with lenses with a maximum aperture of F / 5.6-8.0 here. At the time of writing, there were only three Nikon DX cameras with this feature: D7100, D7200, D500. In Live View, the restriction on F / 6.3 may not work.

The same remark applies to cameras from other manufacturers.

Small relative aperture - one of the main reasons for frequent focus misses and 'jerking' the focus with this lens.

So far, there is only one super-zoom lens with this zoom ratio that uses f / 5.6 at its long end - this is Nikon DX AF-S Nikkor 18-300mm 1: 3.5-5.6G ED SWM VR IF Aspherical.

Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS

Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS

Image quality

The quality of the image you create very much depends on the focal length and aperture used.

Sharpness. At 18-80mm and widest aperture, the lens is sharp in the center of the frame, but with weak angles. In the 80-250 range, sharpness in the center of the frame decreases with increasing focal length. Sharpness at f / 6.3 and 250 mm is very weak, edges and corners turn into a mess. But if you close the aperture at least to F / 8, then the range of 80-250 mm becomes more or less sharp.

When using Sigma 18-250mm f / 3.5-6.3 on a 24 MP camera Nikon D3200 the lens showed a catastrophically low sharpness at F / 6.3 and 250 mm.

Chromatic aberrations most noticeable in the range of 18-24 mm and 135-250 mm, especially along the edges of the image. At average focal lengths, aberrations are corrected well, especially when you consider that this is a lens with 14x zoom.

Vignetting. The strongest vignetting occurs at 18mm f / 3.5 and 250mm f / 6.3. If you close the aperture to f / 11, the vignetting disappears across the entire focal length range. When used on a full-frame camera, you can clearly see how much the black border of the image changes when the focal lengths are changed from 18 to 250 mm. It changes in a wave-like manner - at first it decreases, then increases.

Distortion most noticeable by 18 mm, when changing the focal length, it goes from barrel-shaped to pillow-shaped.

In backlight, the lens does not lose contrast, but receives a noticeable amount of glare. Such lenses tend to have good contrast and at the same time mediocre sharpness. To put it as simply as possible, due to the preservation of contrast, the image appears not so 'soft', while the sharpness can be very poor.

On a full-size camera, a large black border around the image is always present and this weakly depends on the set focal length, aperture, or focus distance.

Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS

Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS

Sample Photos

All sample photos were shot on camera. Nikon D3200.

Sample photo on a Sigma 18-250mm f / 3.5-6.3

Sample photo on a Sigma 18-250mm f / 3.5-6.3

Sample photo on a Sigma 18-250mm f / 3.5-6.3

Sample photo on a Sigma 18-250mm f / 3.5-6.3

Sample photo on a Sigma 18-250mm f / 3.5-6.3

Sample photo on a Sigma 18-250mm f / 3.5-6.3

RAW source files ('.NEF') can be download from this link (71 photos, 1.34 GB).


Below is a list of all hyper-zooms for SLR or mirrorless cameras with an APS-C sensor and a range of focal lengths greater than or equal to the classic 18-200 mm.

Tamron (different mounts):

  1. Model A14 Tamron 18-200/3.5-6.3 AF (IF) Aspherical LD ​​XR DiII Macro, February 2005. Country of manufacture Japan or China. The version for Pentax cameras has a metal mount, for Nikon / Canon / Sony / Minolta the mount is plastic. In March 2008, an improved Tamron Model appears for Nikon cameras. A14 NII with built-in focus motor, focus mode switch, 8 microprocessor pins and metal mount.
  2. Model B018 Tamron 18-200/3.5-6.3 AF Di II VCAugust 2015.
  3. Model B011 Tamron 18-200 mm F/3.5-6.3 Di III VC, black or silver, December 2011, for mount mirrorless cameras Sony E и Canon EOS M
  4. Model A18 Tamron 18-250/3.5-6.3 AF Di II LD Aspherical [IF] Macro, September 2006. Country of origin Japan or China. In December 2007, an improved model appears for Nikon cameras Tamron model A18 NII with built-in focus motor, focus mode switch and 8 microprocessor pins.
  5. Model B003 Tamron 18-270/3.5-6.3 AF Di II LD [IF] Aspherical VC MacroJuly 2008.
  6. Model B008 Tamron 18-270/3.5-6.3 AF Di II VC PZD, December 2010. Country of origin China or Vietnam.
  7. Model B008TS Tamron 18-270/3.5-6.3 AF Di II VC PZDSeptember 2016.
  8. Model B016 Tamron 16-300/3.5-6.3 AF Di II VC PZD Macro, February 2014.
  9. Model B028 Tamron 18-400/3.5-6.3 Di II VC HLD, June 2017.

Promaster (various mounts):

  1. PROMASTER 18-200/3.5-6.3 DIGITAL XR EDO AF Aspherical LD ​​(IF) Macrocopy Tamron model a14 under the Promaster brand. Japanese assembly

Sigma (different mounts):

  1. Sigma 18-200 mm/3.5-6.3 Zoom DC, February 2005.
  2. Sigma 18-200/3.5-6.3 Zoom DC (+ -HSM) OS (Optical Stabilizer)September 2006 velvet or smooth black body. The HSM motor is only available on Nikon camera lenses.
  3. Sigma 18-200/3.5-6.3 II Zoom DC HSM OS (Optical Stabilizer)October 2011.
  4. Sigma 18-200/3.5-6.3 DC OS HSM MACRO | C (Contemporary, Optical Stabilizer), January 2014.
  5. Sigma 18-250/3.5-6.3 Zoom DC HSM OS (Optical Stabilizer)January 2009
  6. Sigma 18-250/3.5-6.3 Zoom DC Macro HSM OS (Optical Stabilizer)June 2012.
  7. Sigma 18-300/3.5-6.3 DC OS HSM MACRO | C (Contemporary, Optical Stabilizer)September 2014.

Quantaray (different mounts):

  1. Quantaray 18-200/3.5-6.3 Dio Multi-Coated, copy of Sigma 18-200mm/3.5-6.3 Zoom DC (2005) branded as 'Quantaray'
  2. Quantaray 18-200/3.5-6.3 Dio OS (+-HSM) Multi-Coated, copy Sigma 18-200/3.5-6.3 Zoom DC (+-HSM) OS (2006) under the banner of 'Quantaray'.

Nikon (F):

  1. Nikon 18-200/3.5-5.6G DX VRNovember 2005.
  2. Nikon 18-200/3.5-5.6GII DX VRJuly 2009.
  3. Nikon 18-300/3.5-5.6G DX VR, June 2012.
  4. Nikon 18-300/3.5-6.3G DX VRApril 2014.

Sony ('A' or 'E'):

  1. Sony 18-200/ 3.5-6.3 AF DT, A mount, most likely uses an optical design Tamron model a14.
  2. minolta 18-200/3.5-6.3AF DT Dmount A is likely to use an optical circuit Tamron a14
  3. Sony 18-250/3.5-6.3 AF DT, A mount, since 2007, most likely uses Tamron Model A18 optical design.
  4. Sony 18-200/3.5-6.3 OSS, E-mount, May 2010
  5. Sony 18-200/3.5-6.3 OSS LE, E-mount, May 2012
  6. Sony 18-200/3.5-6.3 PZ OSS, E-mount, September 2012

Hasselblad (Sony E):

  1. Hasselblad E 3.5-6.3/18-200 OSS copy Sony 18-200/3.5-6.3 OSS, September 2012

Pentax (K):

  1. Pentax 18-250/3.5-6.3 AL SMC DA [IF], October 2007, most likely uses Tamron Model A18 optical design.
  2. Pentax 18-270/3.5-6.3 ED SMC DA SDM, September 2012, most likely uses an optical design Tamron model b008.
  3. Samsung 18-250/ 3.5-6.3, with a Pentax KAF2 mount, 2008, (most likely uses the Tamron Model A18 optical design.

Canon (EFS):

  1. Canon 18-200/3.5-5.6 IS Zoom Lens EF-S (Image Sbabilizer), August 2008.

Samsung (NX):

  1. Samsung 18-200/3.5-5.6 ED OIS i-Function, Samsung NX mount

After I prepared this list, I noticed that all the lenses, except the native Nikon 18-300 / 3.5-5.6Guse on the long end of f / 6.3. Most likely such a very low aperture connected with the huge zoom ratio of these lenses.

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Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS

Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS

My experience

I had a pleasant enough time with the Sigma 18-250mm f / 3.5-6.3. All the same, a 14x zoom greatly simplifies the life of the photographer, especially after a long shooting with fixed lenses. Of course, the advantages and disadvantages of the lens are measured not with a single zoom ratio, but still the Sigma 18-250mm f / 3.5-6.3 is not as bad as you might think about it. One of the frames in processing can be viewed here.

Model Sigma 18-250mm f / 3.5-6.3 is now difficult to find for sale a new one, it is replaced by a version Sigma 18-250 / 3.5-6.3 Macro. The latter is approximately 2 times cheaper than the original Nikon 18-300 / 3.5-5.6G VR. For many, the price will be a decisive factor. If a Sigma 18-250 / 3.5-6.3 Macro even though something is better than the Sigma 18-250mm f / 3.5-6.3 (from this review), I would still recommend it.

For home, vacation, travel, I could easily shoot with the Sigma 18-250mm f / 3.5-6.3 (from this review). Superzoom does not require stunning professional image quality, the Sigma 18-250mm f/3.5-6.3 is good enough for amateur photography. In fact, I am a big fan of zoom lenses, in particular super zooms, and sometimes secretly daydream about Nikon D500 и Tamron 16-300VC. In the comments, I look forward to the tales that a true labor photographer should shoot exclusively on discrete lenses.

Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS (Optical Stabilizer) and Sigma Zoom DC 18-200mm 1: 3.5-6.3 HSM OS (Optical Stabilizer)

Dimensions Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS (Optical Stabilizer) and Sigma Zoom DC 18-200mm 1: 3.5-6.3 HSM OS (Optical Stabilizer)


With the Sigma 18-250mm f / 3.5-6.3 everything is not easy, it is not possible to say for sure what kind of lens it is. Image quality is highly dependent on focal length and aperture used. There are some peculiarities of assembly and operation of the stabilizer. In general, the Sigma 18-250mm f / 3.5-6.3 attracts with its 14x zoom, stabilizer and HSM motor. Considering the cost of this lens, I would still turn my attention to it.

Material prepared Arkady Shapoval. Training/Consultations | Youtube | Facebook | Instagram | Twitter | Telegram

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Comments: 112, on the topic: Overview of Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS (Optical Stabilizer) for Nikon cameras

  • Oleg

    I got a 18-250 sigma, installed it on my D5300, but there is no autofocus either through the JVI or through the screen, and opt. stub also does not work. Then I found the info that my camera model has problems with sigma, AF does not work through the screen, but through the JVI it should work, and this is solved by updating the sigma firmware. I came to the service, and they have surprisingly, the experimental carcass is also D5300, we put the lens on it and the AF through the OVI works fine, but it does not work through the screen. I already thought that the problem was in my carcass, but I remembered in time that it was not long before that I was updating the software in the camera, which is why the lens behaved differently. Updating the software in the lens solved these problems.

  • Max

    Hello, there is not much experience in the photo, but after the 18-55 kenon kit, the universal zoom lens is of interest. And so the question was between Sigma DC 18-250mm 1: 3.5-6.3 Macro HSM OS and Canon ef-s 18-200mm f / 3.5-5.6 is. The lens is needed for everyday use, photo sports dog competitions. Canon 100D Camera. The used price of these two models is approximately the same. Can someone from personal experience use suggest what to choose?

    • Arkady Shapoval

      For Canon 100d the original lens will be preferable. The main reason is that 100d may work poorly (focus) with sigma at f / 6.3 (the 100d focusing module is designed only for lenses not darker than f / 5.6)

      • Max

        Thanks for the advice, I bought canon 18-200. Everything seems to be ok.

      • Andrei

        I use this lens on Canon 200D, there are no problems with focusing at aperture over 5.6.

  • Antip

    I read somewhere that it is preferable to use cameras with a matrix with such a lens.
    no more than 12MP-picture quality will be better.

  • Andrei

    The other day I bought this glass from my hands. For 4 years it lay on a shelf, practically was not used. Outwardly, as new. While I can’t give him an assessment, I haven’t gone anywhere with him yet. Later I will unsubscribe as it is. Release Date 2014. I understand this is the latest version. I am paired with the Canon 200D. Autofocus is working fine. There are 2 questions. The lens went without a hood. Where can I find a reasonable price? Even on Ali only the original at a price of 30 bucks. Maybe there are non-original ones? And the second question. Autofocus works with strange click sounds. That is how it should be? Just have Sigma 17-70 2.8 there are no such sounds.

    • Fyodor

      Clicks are normal. Well, the focusing ring just jerks sharply.

  • Andrei

    And here are the first observations on the lens. And again a question. Enlighten, maybe I don’t understand something or I don’t know. There are Tamron 55-200 and Sigma 18-250. I decided to compare on the subject of macro photography. And he noticed that at maximum FR Tamron is closer to FR 200 than Sigma 250. Then he did the test. Shot from the same position from both lenses in their maximum FR. The result can be seen in the photo: 1. Tamron c FR 200 mm 2. Sigma with FR 250 mm Judging by the photos, it should be the other way around, or Sigma should have everything bigger in the photo. How can this be?

    • Andrei

      also compared with canon 55-250 in a room from 2-4 meters at different focal lengths. the picture for canon at long distances is larger \ as you say \ detailing at an equal aperture above. upset. the next day climbed onto the roof, a small miracle, on long the images are identical in size. I specially recorded the landmarks of the house with a ruler and checked the same on the big screen. I don’t know what the limiter is and how it works, but I dug up the same lens behavior on one of the forums. I bought it for the video, but the zoom came too tight I adapted to the photo \ used 17-50 and 50-135 \ -I got used to squeeze the aperture from 9 and above. The light really loves. The details appeared and the picture is juicier than that of the canon. I do not regret it but got used to it for a long time.

  • Irina

    Please tell me, they offer such a kit. Is it worth taking with this lens? SLR camera SONY ALPHA SLT-A77 18-250 mm
    Sigma AF 18-250mm f / 3.5-6.3 DC OS HSM Macro Canon Lens

    • Michael

      With a non-native lens, I would not. Moreover, judging by the issue, you have no experience.

      • Irina

        Thank you very much for the answer.

  • Alexander

    I went to buy Nikon 16-85 and I got sigma 18-250. Well, I took it in the store to try.
    although I didn’t take a lot of pictures and everything in the store, the impression is good. sharp, fast AF, does not smear. the stabilizer works well, lubrication is difficult to do.
    minus the design on autofocus cannot be twisted by hand, but sometimes you want to ... not because of the fact that it is bad, but simply to try.
    but he took Nikon, because he had wanted for a long time.

  • Gennady

    Urgent need to make a choice. It is offered:
    1) Sigma Zoom 18-250mm 1: 3.5-6.3 DC OS HSM (72 mm under the filter),
    2) Sigma 18-300 (I don’t know other details yet, but obviously modern) and
    3) AF-S Nikkor DX VR 18-300mm 1: 3.5-6.3G ED.
    Camera Nikon D80.
    We really need such a versatile zoom and we need a lens that is as sharp and clear as possible. You need to decide in the next 2-3 days. I read a bunch of information, including first of all on this site, - my head is spinning.

  • Sergei

    Hello, what do you recommend for the d7000: this lens, sigma 18-200 hms os with 72mm or 18-105?

    • B. R. P.

      If you need more than 105 focal lengths, you can also use this one.

      • Sergei

        What if focal lengths don't matter as much as closed aperture sharpness and build quality?

        • B. R. P.

          When closed, everything is sharp) These are budget lenses and there is no need to talk about any special build quality. With Sigma, well-known camera-specific incompatibility issues are possible.

  • Maksim

    How much does he lose 18-140 in sharpness at f8?

    • Arkady Shapoval

      on f8 loses in the range of 18-140 weakly

      • Maksim

        strange, for some reason, the DRL shows catastrophically weak edges, it is the sharpness across the entire field of the frame on a 16mp matrix that is of interest

        • B. R. P.

          Expect sharpness from superzooms across the entire field of the frame ... somewhat naive)

        • Arkady Shapoval

          And the devil knows what this dxomark shows there. Look at his charts - do not respect yourself.
          But I should note that sharpness across the entire field of the frame is a difficult task for a super zoom.

          • Maksim

            sharpness over the entire area of ​​​​the frame for both is bad? and what about the darkness of the lenses? 18-140 should be noticeably lighter in theory. And in general, it’s interesting to know your opinion: what is better for a lens for everyone, if image quality plays an important role, and the focal range above 130 is used in 20% of cases, is it worth taking 18-250 at the price of 18-140 in this case? The ability of the lens to shoot fairly moving objects at basic ISO on a sunny day is also important, alas, my tamron 18-270 does not allow this to be done at a relatively wide angle, not to mention the TV range, I hope you can give me a couple of tips, because I got confused with these supermoms, and as I understand it, 18-200 and 18-250 from sigma tend to be unrealistically soapy at the edges of the frame, in case of an unsuccessful instance, an example of such a lens is attached, the picture was taken at f11, such edges of the lens are at fr 18-50, the sigma lens is 18-200 the second version, my tamron has a similar problem, but it does not lather so much in the upper left corner, which is why it is not noticeable

            • Maksim

              Here is an example

            • B. R. P.

              Lenses have aperture, not darkness. No “noticeably brighter”, 5,6 is only a third of a stop brighter than 6,3. If you already have a similar superzoom from Tamron and you are still waiting for miracles from other similar zooms, I sympathize. For shooting moving objects, it is better to take something else, if focal lengths of more than 130 are rarely used, it is worth taking not a superzoom, but a regular zoom + telezoom. There will be less convenience, more quality.

              • Maksim

                I wouldn’t say, compare the same 18-55 3.5-5.6 with 18-105 3.5-5.6 and the difference will be visible, I don’t expect super quality, I just would like to get + - acceptable, the budget is very limited, so I can’t take 2 lenses, I would just like to understand where the quality is better, at 18-140 or 18-250

            • Arkady Shapoval

              18-140 is a good balanced solution, look at it

              • Maksim

                Got it, okay, thanks, I hope I get a good copy, since I realized that all budget superzooms vary greatly in quality

  • Specialist

    Maxim, you won’t believe it, but I have the sharpest “whale zoom” - 18-55ED GII, especially at a wide angle, others (18-55VR, 18-105, 35-70 / 3,3-4,5) are somewhat inferior in sharpness. Tamron 28-75 / 2,8 is also not bad, but for crop - Tamron 17-50 / 2,8 seems to be sharp too (I don’t have it).

  • Nikita

    Hello, I hope someone else is watching the comments. After a bunch of crops from the canon, I became the happy owner of the d5200 and I am considering this glass, only in a newer version with a macro addition. On the other hand, for 4 thousand in our city I can take 55-200 with a stabilizer, the difference is one and a half thousand rubles. What should you choose? It is preferable for me to have image quality and work without failures, if the quality of the image is at the level of the same 55-250 from canon, then I will be happy. I look forward to your feedback, thanks in advance)

    • Arkady Shapoval

      55-200 would be better

  • Anatoly

    Hello, please tell me, did anyone shoot with a Sigma WIDERAMA 18mm f3.5 lens? It seems like a completely manual lens with a T2 mount, sort of. Is it better than the MIR-20 automatic? You have to make a choice! But Mir-20 also needs to be redone.

    • B. R. P.

      The world is an automatic machine for sure.

      • Anatoly

        Thanks for the answer. Chose Sigma The seller made a test shot. I didn't see any noticeable distortion. Does Mir-20 seem to have noticeable distortion?

        • B. R. P.

          Over-widths with corrected geometry are rare and expensive. Distortion is not visible on every frame, especially made by a person who wants to sell. The Mir-20 automatic machine has more serious problems, namely with the alteration. I do not advise any automatic machines, they are not worth the trouble.

          • Anatoly

            I agree. Well, at least they were not expensive, and even the price is high even for the Mir-20 automatic.

            • B. R. P.

              High prices for automatic machines are set mainly by scammers who pass them off as normal lenses, sometimes they even write that it is installed through a simple adapter, it does not require alterations. They are looking for victims.

        • Victor

          Mir-20 (judging by the review here) simply has no image quality.

  • John

    tenho uma camara nikon D5200 pergunto se a objetiva Objectiva Sigma 18-250 mm 3.5-6.3 DC Macro OS HSM é utilizável na maquina e se os resultados são bons, assim como se esta lente é boa, e já agora a que preços posso encontrar usada ?
    thank you
    João Pedro

    • B. R. P.

      Sí, este objetivo es totalmente compatible con su cámara. Tales lentes están diseñadas más para la conveniencia de construir un marco que para fotografías de alta calidad. El propietario de este sitio no analiza precios, usted mismo tendrá que buscar esta información en Internet. Este modelo está desactualizado y, en un momento, fue reemplazado por Sigma Zoom DC 18-250 mm 1: 3.5-6.3 Macro HSM OS (Estabilizador óptico). Presumiblemente, el precio no deberia exceder los $200.

  • Anatoly

    And I liked the picture from him, I will buy myself one for my home.

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