According provided by lens Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS (Optical Stabilizer) huge thanks to the store www.fotika.com.uawhere you can find a huge number of different used photographic equipment, including similar lenses.
Sigma Zoom DC 18-250mm 1: 3.5-6.3 HSM OS on the Nikon D3200
Browse Navigation:
- In short
- History
- Main Specifications
- Assembly
- LOCK Button
- Stabilizer
- Aperture Features
- Focusing
- The effect of F / 6.3 on focus
- Image quality
- Sample Photos
- Prices / where to buy
- Alternatives
- My personal experience with the lens
- Results
- User Comments
- 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This model is outdated and, at one time, was replaced by Sigma Zoom DC 18-250mm 1: 3.5-6.3 Macro HSM OS (Optical Stabilizer).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
History
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:
- 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.
- 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.
- 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.
- 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:
- 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
- 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)
- 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
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 |
|
| 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)
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
Assembly
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
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
Stabilizer
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
Diaphragm
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
Focusing
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
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
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
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
RAW source files ('.NEF') can be download from this link (71 photos, 1.34 GB).
Alternatives
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):
- 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.
- Model B018 Tamron 18-200/3.5-6.3 AF Di II VCAugust 2015.
- 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
- 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.
- Model B003 Tamron 18-270/3.5-6.3 AF Di II LD [IF] Aspherical VC MacroJuly 2008.
- Model B008 Tamron 18-270/3.5-6.3 AF Di II VC PZD, December 2010. Country of origin China or Vietnam.
- Model B008TS Tamron 18-270/3.5-6.3 AF Di II VC PZDSeptember 2016.
- Model B016 Tamron 16-300/3.5-6.3 AF Di II VC PZD Macro, February 2014.
- Model B028 Tamron 18-400/3.5-6.3 Di II VC HLD, June 2017.
Promaster (various mounts):
- 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):
- Sigma 18-200 mm/3.5-6.3 Zoom DC, February 2005.
- 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.
- Sigma 18-200/3.5-6.3 II Zoom DC HSM OS (Optical Stabilizer)October 2011.
- Sigma 18-200/3.5-6.3 DC OS HSM MACRO | C (Contemporary, Optical Stabilizer), January 2014.
- Sigma 18-250/3.5-6.3 Zoom DC HSM OS (Optical Stabilizer)January 2009
- Sigma 18-250/3.5-6.3 Zoom DC Macro HSM OS (Optical Stabilizer)June 2012.
- Sigma 18-300/3.5-6.3 DC OS HSM MACRO | C (Contemporary, Optical Stabilizer)September 2014.
Quantaray (different mounts):
- 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'
- 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):
- Nikon 18-200/3.5-5.6G DX VRNovember 2005.
- Nikon 18-200/3.5-5.6GII DX VRJuly 2009.
- Nikon 18-300/3.5-5.6G DX VR, June 2012.
- Nikon 18-300/3.5-6.3G DX VRApril 2014.
Sony ('A' or 'E'):
- Sony 18-200/ 3.5-6.3 AF DT, A mount, most likely uses an optical design Tamron model a14.
- minolta 18-200/3.5-6.3AF DT Dmount A is likely to use an optical circuit Tamron a14
- Sony 18-250/3.5-6.3 AF DT, A mount, since 2007, most likely uses Tamron Model A18 optical design.
- Sony 18-200/3.5-6.3 OSS, E-mount, May 2010
- Sony 18-200/3.5-6.3 OSS LE, E-mount, May 2012
- Sony 18-200/3.5-6.3 PZ OSS, E-mount, September 2012
Hasselblad (Sony E):
- Hasselblad E 3.5-6.3/18-200 OSS copy Sony 18-200/3.5-6.3 OSS, September 2012
Pentax (K):
- Pentax 18-250/3.5-6.3 AL SMC DA [IF], October 2007, most likely uses Tamron Model A18 optical design.
- Pentax 18-270/3.5-6.3 ED SMC DA SDM, September 2012, most likely uses an optical design Tamron model b008.
- Samsung 18-250/ 3.5-6.3, with a Pentax KAF2 mount, 2008, (most likely uses the Tamron Model A18 optical design.
Canon (EFS):
- Canon 18-200/3.5-5.6 IS Zoom Lens EF-S (Image Sbabilizer), August 2008.
Samsung (NX):
- 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
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.
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)
Results
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
> At the time of this writing, there were only three Nikon cameras with this capability: D7100, D7200, D500.
More D600, D610, Df
Or did you mean “only three Nikon-DX cameras”
Fixed
In the comments, I look forward to the tales that a true labor photographer should shoot exclusively on discrete lenses.
A person who loves zooms cannot be called a photographer. And one more important note - the photographer doesn't use DSLRs these days.
Are photographers now switching to iPhones?
Although yes, there is instagram)
Real photo shots switched to 4 \ 3. :)))
)) by… micro 4/3.
A photographer is a person who photographs. It doesn't matter what and what
The whole instagram applauds you!
why aren't they photographers?
Have you seen how many courses on "mobile photography" and courses "take pictures for Instagram correctly"?
Arkady, is that true?
My world will never be the same again ...
http://cameralabs.org/9765-pobediteli-mezhdunarodnogo-fotokonkursa-mobile-photography-awards-2015
Arkady needs to rename the site.
"The history of photographic equipment before the advent of tapkofotics"
Success guaranteed.
http://imhomir.com/blog/FOtOS/21203.html
Ahhrenit, how great!
The local Museum of Fine Arts hosted an exhibition of photographs from smartphones.
The sight is simply terrifying. Postmodernism is taking wide steps.
The impression that they all smoked together something super-picky.
It would be interesting to see ... Even scary ... Were there any scratched and worn lenses? Maybe this is a round of old fashion? In principle, everyone understands that a photo taken with a phone can only be viewed from it. This is not for print and exhibitions.
I had to communicate with the "elites" of the fine arts of the international level. Well, there are photographers all over the world. Such that in the "trend". Those. expose the devil, but imply a deep meaning. I just sweated sticky looking at their "masterpieces". The impression that they were filmed by a cat or a parrot. I wanted to cry loudly and beat the “photographers” in the face.
I must say right away that I am not writing about everyone, far from all.
But I just got bogged down, honestly, it turns out that just the most severe crisis in this regard has now come. And that is characteristic, came in Europe and America in the first place.
These perverted trends come from the West and Europe which is already spiritually especially finished.
I never understood why “professional” iPhone-Mabilo- (selfie there) photography is so popular, so generously paid and exhibited all over the world.
Such exhibitions on the Internet cause nothing but an attack of vomit and disgust - the creative ecstasy of spiritually sick people who are unfamiliar with the concept of harmony, expediency, beauty - that's what it reminds.
I have nothing against the household mobile-soap photo for myself for my family as a keepsake. So most people have taken the best LIFE
Peter Sh. And Kirill Yankovsky, guys your opinion about photography is interesting and valuable, iPhoneography causes a gnash of teeth, but I really want to ask you not to breed Kissel TV on European spirituality on Radozhiva.
Took to test the lens Sigma Zoom DC 18-250mm 1: 3.5-6.3 Macro HSM OS…. he was new in the box, never dressed…. the sharpness is so-so, but it's okay…. The longer the focal length, the more you can see one interesting stabilizer effect…. Pronounced at 250 mm. You press the shutter button and look through the viewfinder…. And the stabilizer starts to rotate the image in a circle, clockwise…. Because of this, sometimes it was not possible with this lens to make a sharp frame even at 18 mm and exposure 1 \ 200…. Apparently it was a jamb of this particular specimen ... But the sediment remained and I no longer look towards Sigma lenses .... I use Nikon lenses ... I also have one Tamron 17-50 VC ... Well, it seems like nothing, only sometimes the right side lathers ... I went to Moscow to the service, they did it, with disassembly, they said it wouldn’t lather anymore ... It seems to be normal at first .... Then several times again I noticed a little such effect ... Yes ... And I had to correct the autofocus to minus 8 ... Then we did the adjustment ... Now it seems to get into focus .... At these third-party manufacturers, I noticed that everything seems to be like this and probably ... In general, I was disappointed in third-party manufacturers .... And now I use my own glasses and everything is fine ...
If a person picks up a violin, it’s just a man with a violin. If a person picked up a camera. then he is already a photographer.
And not just a person with a camera?
nope .. it's me - a man with a camera, and he is a photographer!
But I didn’t guess :) a real labor photographer takes films on the SF, at least!
a real photographer filmed on SF and has already died
SF is the lot of amateurs, only BF, only true-hardcore!
I don’t know how the shooting process went, but according to the laid out photographs, the lens is very good, IMHO. Image quality from my Nikon ED AF-S Nikkor 70-300mm 1: 4.5-5.6G VR IF SWM after 100 mm and no diaphragm at all. (((
it turns out that Nikkory need to choose from several pieces when buying? Did you get it new?
New. Brought by order. for 600 cu
Yes, it was 3 years ago. used it three times and was disappointed. I understand what needs to be carried out for adjustment, but somehow I feel sorry for the money.)
You obviously have something wrong with him. 300mm, F / 5.6, bricks
Good is when you cover the elka until 8. And this is bullshit.
Sigma has finally released a great glass!
sigma has always had excellent glass along with lousy, in fact, like any manufacturer
Have you looked at the release date of this glass? :)))
Rather, dxomark finally tested this glass)
“After preparing this list, I noticed that all lenses except the native Nikon 18-300 / 3.5-5.6G are used at the long end of F / 6.3. Most likely, such a very low aperture is due to the huge zoom ratio of these lenses. "
Well, actually, the Nikon 18-300 / 3.5-5.6G diaphragm 5.6 is like a cow saddle, even f8 doesn’t help him. And it looks like everyone, because at first he was tormented with his own, and after the sale he took it from a friend to test the exact same and with the same result. Since then, I have been afraid of superzoos of this class.
Although 55-300 was pleasantly surprised, the truth is that it is not of the 18-dohren class.
I have a Nikon 18-300 / 3.5-5.6G at 300mm that lathers the picture, and return the zoom a bit to at least 290mm and all the buzz, the picture is sharp again. Is it just me a loser or is this a jamb yet someone else has?
It seems that everyone has it, only it is not necessary to unscrew it by 290mm, but somewhere 260-270.
Two 18-300 5.6G went through my hands. The first, scratched behaved very well on the SHU, the second virgin new behaves noticeably better at 100-300, but on the left corner to 18mm horror to F10. Both bought from hand for 18-25 thousand respectively. I’m not going to sell the second one - the lens is chic and creative if you know how to use it correctly. Gorgeous, accurate and rich in shades of color reproduction, in contrast to the dull technically sharp to stupor 70-300VR. I always shoot them from F8-F16 and then everything is sharp and high-quality for such a zoom either. Although in the center it is even sharp with 3.5 and at 5.6 200-300mm gives a beautiful unobtrusive bokeh.
Waiting for a review of Arcadia on this glass
Who is Tru photographer? What does it mean?
true - true (eng.)
) thanks. Wow …. )
nasty lens ... sold without even regretting
I would include the alternative and native 18-200 DX.
There are a lot more lenses of the 18-200 class than there are such super-duper-duper zooms :)
I had one, I took it for 7200, I couldn't get enough of it for a month, then I had the "imprudence" to try out the Sigma 70-200 / 2.8. I sold it the next day, and took 70-200 together with 17-70. Yes, I had to sell 7200 and take 7000 in return. To report “a little bit”, because of this I do not talk to my wife for 2 weeks. But damn it, it's worth it !!!!!!
I had a newer one with “Macro”. I bought it from the very first attempt without front-back focus. I am ready to subscribe to the conclusions made by the author. The long end is critically short of aperture. You can take good pictures during the day, compared to the same Tamron 18-270 there is much less soap, with a strong digital approach, you can see the microstructure of the object (say, the edges of the stadium fence by 250 mm) - the tamron will have solid soap there. Stab gives honest 3 levels. If you do not turn it off in time, it will bother you with its buzz until you turn off the camera.
The same Nikkor AF 70-300mm 1: 4-5.6G beats the sigma at the long end, has less soap and HA at the edges, but for shooting with hands at night, sigma is definitely better, albeit darker.
For an amateur, such a sigma or 18-300 is better, in the city there is enough of a wide angle (on the crop), if you want to take something far away - no problem. There is no such spread in quality as the tamrons. This is a very convenient lens, although a used kit (approximately equal in price) Tamron 10-24, Tamron 28-75, Nikkor AF 70-300mm 1: 4-5.6G beats it in all respects. On the other hand: turn on the camera and shoot, no hassle with changing lenses; in the building, the situation is radically changing a cheap fifty or 35, not to mention high-aperture zooms, they force to get an external flash, since even a tripod does not save from blurring.
They snatched it out of the hands along with the D5200, breaking the belt, when crossing the road in Vietnam, well at least they didn't break their head. This is such a fraternal people. Americans can be understood ...
What does “kit… about equal in price” mean? Each used item listed in the kit costs at least as much as used Sigma. And most importantly, you forget the most important thing: to the forest or fishing, and even for a walk - you cannot take a backpack of optics with you and it is difficult to change in the field (as well as “dusty”) conditions. The frame, too, often will not wait until you change the lens.
1. Apparently wrote inaccurately: a version of the new (!) Sigma can be replaced with such a used set. Why not consider a used sigma option? They are not there, tamron 18-270 can be found even for 7500, symgma - no (although the original price of tamron is higher).
2. Regarding dusty conditions, the most dusty place in Siberia is your own apartment (house) with pets. In the south, in Russia and in Southeast Asia, even a sandy beach is far from a dusty place. Rather, the camera will “die” from salt. In reality, dust can only be near a well-rolled dirt road, or during a snowstorm, when there is snow; neither in the forest, nor on fishing, nor in the taiga (where there is generally 30 cm of moss under the grass) there is no dust at all. To get somewhere where there is no asphalt, you need to go only by car, in the car, change the lens if the wind is blowing too much. You can still ski in winter, but there is no way without a package, from sweat everything will be condensed. And the extra 400-500 grams in the backpack does not pull, despite the fact that the sigma itself weighs a lot, you need to disconnect it from the mount, otherwise the hour will break off when you fall.
If we consider the option “everything is in the hands without a backpack,” then it is dangerous that I was shown in Vietnam by ripping out the camera.
Regarding changing the lens: before that I had Zenit M-3 and Zinit ET with Industars. How to change the film (24 or 36 frames) - you take a quilted jacket (not dusty), wrap your hands there along with the camera and film, and feel everything. It's easier at home - you turn off the light in the bathroom, it's even more spacious and there is no dust. The D7100 is far from being a reporter, where you go or you go in advance you put on the lens (usually 35 mm F 1,8). Inconvenient - yes, but nothing more.
Since I owned (sigma) or now (everything else) all of the listed lenses, I travel across the SEA and Patriot in the taiga, swamps, forests, Baikal, etc. I tell you my real experience. Perhaps in Egypt I would have broken off my lenses, I don’t know, I wasn’t.
As an all-inclusive option for the city and during the day for anything, sigma is very convenient and I would not sell it. Although in the same walk Moscow is nowhere without a width, there is no time to carry a tripod and take panoramas.
A normal lens, there is such a “Macro”. I started with it together with D5100, many good shots remain. I decided not to sell either one or the other - I left the kit to my son. I don't use it myself, but I wouldn't scold either. As a travel for nature - a convenient and light option, and not as sorry as carcasses and optics of a higher class.
it seems that SIGMA was offended by the fact that her zooms were vilified and released something unprecedented!
Sigma A 50–100 mm f / 1.8 DC HSM.
http://www.optyczne.pl/9437-news-Sigma_A_50-100_mm_f_1.8_DC_HSM.html
probably a real photographer can use such a zoom :)
Hello Arkady! The question is off topic, and not relating to this lens.
I want to shoot macro, but as always, it is very limited in budget.
Suppose there is a lens with an increase in macro 1k1 for FF CZK. If you take a camera with a factor of 1.5, will the increase be one and a half times as much?
And further. If the lens has an 18cm MDF. Does it increase in Krop one and a half times?
Thank you
Answered below
No and no.
1. The macro is considered in proportion, if the lens makes it possible to shoot 1: 1, this means that the physical size of the object will coincide with the size of the image projected by the lens onto the matrix. You won’t get a physically larger increase, but the area that gets into the frame will be smaller: approximately 22 × 15 mm on the crop versus 36 × 24 mm FF, i.e. the gain will be + LARIG
2. MDF depends on the optical scheme of the lens, and what device you screw it on (FF or crop) will not affect its optical scheme in any way.
3. Budgetary is the use of macro rings.
4. There is a question-answer topic specially created for this.
Oh super sound. I have something similar for travel - tamron 18-270vs. And on the whole it suits me quite well, the stub is good, the sharpness is sufficient. Unfortunately, I have not even tried this Sigma, but I suspect that something is the same. And I agree with Arkady, I would very much like the Tamron 16-300vs - an excellent lens judging by the reviews and my short acquaintance with it. Autofocus is quite fast, there is weather protection and, in general, normal sharpness - and what else is needed for a report :)
I shoot with Sigma 18-200… .also if you shake, then like a rattle.
Good day to all!
Maybe someone is interested.
Ricoh Imaging introduced the Pentax K-1 full-frame SLR camera, designed for professionals and demanding users.
The novelty is equipped with a CMOS sensor (35,9 × 24 mm) with 36,4 million effective pixels. The developer implemented a highly efficient 5-axis image stabilization system SR II (Sensor-Shift Shake Reduction).
The camera does not have a primary anti-moire filter. Pentax engineers have developed a system that, at the time of exposure, triggers the microvibrations of the matrix at a subpixel level, thereby producing an effect similar to the classic optical smoothing filter matrix. At the same time, the main advantage of this method of combating moire is that such a “filter” can not only be turned on or off, but also select the degree of impact, depending on the characteristics of a particular scene or subject.
Another feature of the device is the Pixel Shift Resolution System technology. It allows you to take four photographs of the same scene, shifting the matrix by one pixel when shooting each new image, then to synchronize all four frames into one final shot. Compared with the conventional Bayer system, when each pixel receives information about only one color, and the color of each pixel in the image is calculated by interpolation, the new system allows each pixel to receive real data about each of the three basic colors. Thanks to this system, the detail of the image is significantly increased, color transitions appear much more clearly and the colors themselves become more true.
The Pentax K-1 model received a 3,2-inch display with a unique mount that allows you to tilt the screen horizontally, vertically and diagonally.
The camera is equipped with a high-performance PRIME IV processor, a SAFOX 33 12-point focusing system, an optical viewfinder with almost 100 percent frame coverage, a Wi-Fi 802.11b / g / n wireless adapter, a GPS navigation system receiver and two SD / SDHC / SDXC slots . The shutter speed range is 1 / 8000–30 s, and photosensitivity is ISO 100–204800.
The maximum resolution of the resulting images is 7360 × 4912 pixels. Video recording with a resolution of 1920 × 1080 pixels (60i, 50i, 30p, 25p, 24p) is supported.
The dimensions of the camera are 137 × 110 × 86 mm, weight - 1010 grams. Pentax KAF2 lenses are supported.
The Pentax K-1 SLR will go on sale in April at an estimated price of $ 1800 without optics.
The phrase is incorrect: “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.”
For this lens, in versions for Sony and Pentax cameras, an optical stabilizer is present and working (on the American site, the characteristics page has already been deleted, but there is a summary table of lenses http://www.sigmaphoto.com/lenses/lens-resources/lens-chart-content) (on the old Russian site of Sigma http://www.sigmalens.ru/products.php?prod_id=132)
Here is probably an incomplete list of the latest lenses with optical stabilization for Sony cameras (all of them were introduced 3 or more years ago):
Sigma 18-250mm F3.5-6.3 DC OS HSM
Sigma APO 50-500mm F4.5-6.3 DG OS HSM
Sigma APO 70-200mm F2.8 EX DG OS HSM
Sigma 105mm f2.8 EX DG OS HSM Macro
Sigma APO 120-400mm F4.5-5.6 DG OS HSM
Sigma APO MACRO 150mm F2.8 EX DG OS HSM
Sigma APO MACRO 180mm F2.8 EX DG OS HSM
I took this very one with Sonya, like travel zoom, with a bang and 6.3 to 250 is quite working, I liked the article very much, but it gives it to nikonovodi (But Nikonovods with 800+ cameras often go to mobile phones and often switch, Sonya the first switched to compactness and funny reviews about mobilofoty watch current on a mobile phone, the DPI on mobile phones is much higher than any monitor, look at the pictures on a 4K TV, be surprised)
Guys, you all wonderfully debated here, but one thing is not clear: is it worth giving $ 350 for the new version of Sigma 18-250 or not? For travel and reporting where everything is ok with light.
The question is urgent, because purchase in the next couple of days.
The lens takes m filters, comes with a petal-shaped lens hood, and is available now in Sigma, Canon, Nikon, Pentax and Sony mounts for approximately $ 500.
Bokeh "porridge" ...
Arkady, your blog is the best thing I've ever read about photography equipment. I advise the fierce teapot to read your blog first, and only then something else. Low bow, huge thanks. !!!
Thank you.
Thank you, Arkady, huge. I only study your site. Damned politicians ... I will really support it not in hryvnia, but in rubles :)
Thank you :)