SIGMA 18-200mm 1: 3.5-6.3 DC OS HSM MACRO Review | C (Contemporary)

For the provided SIGMA 18-200mm 1: 3.5-6.3 DC OS HSM MACRO C (Contemporary, Optical Stabilizer, for Nikon) lens, many thanks to the store Fotika.com.uawhere you can find a huge number of different used photographic equipment, including similar lenses.

Sigma C 18-200mm F / 3.5-6.3 DC HSM (Contemporary), view on the Nikon DX camera - D3200

Sigma C 18-200mm F / 3.5-6.3 DC HSM (Contemporary) as seen on Nikon DX - D3200

Browse Navigation:

  1. In short
  2. History, versions of this line of lenses
  3. Main Specifications
  4. Assembly
  5. 'Lock' switch
  6. Image stabilizer
  7. Focusing
  8. The effect of F / 6.3 on focus
  9. Diaphragm
  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 / comment or question on the lens

In short

SIGMA 18-200mm 1: 3.5-6.3 DC OS HSM MACRO | C (Contemporary) (short name in overview - Sigma C 18-200mm F / 3.5-6.3) Is a good all-round lens for cropped DSLR cameras. Attracts small size, good build quality and image, built-in stabilizer and quiet focusing. In all respects, the Sigma C 18-200mm f / 3.5-6.3 is much better than its predecessors. I would even prefer this lens to my native Nikon 18-200 / 3.5-5.6GII VR.

Seriously, the Sigma C 18-200mm f / 3.5-6.3 is a usable lens. Sigma markets it as a lens for travel and home / family photography.

This review shows the lens version for Nikon DX cameras, but there are also Sigma C 18-200mm F / 3.5-6.3 versions for Sigma, Sony, Pentax, and Canon cameras.

Maximum Sigma C Lens 18-200mm F / 3.5-6.3 DC HSM (Contemporary)

Maximum Sigma C Lens 18-200mm F / 3.5-6.3 DC HSM (Contemporary)

History

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 finalized 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 versions and versions of the same model. I distributed the main versions according to optical schemes:

  1. Sigma Zoom DC 18-200mm 1: 3.5-6.3, February 2005, scheme 15/13, with a red ring and a velvet case, macro 1: 4.4, without stabilizer, with a micro motor. Since December 2007, a micro-motor has also been integrated in Nikon lenses (before this, there was no focusing motor in the lens). This lens was 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), September 2006, scheme 18/13, velvet (2006) or black (from August 2007) building, macro 1: 3.9. The type of velvet version I have shown here. Nikon cameras only have the inscription 'HSM'. For Pentax, Sigma, Sony / Minolta and Canon cameras, the lens comes without an 'HSM' motor. In the version for Sigma and Canon, the lens uses a conventional micromotor. Versions for Sony / Minolta and Pentax do not have a built-in image stabilizer (possibly without inboard motor focusing). Versions released after March 2007 differ from earlier versions in that the inscription 'Optical Stabilizer' is located elsewhere (to the left of the 'LOCK' button). Individual specimens differ in the rubber structure on the zoom ring. Earlier versions have a Sigma velvet case, and newer ones have classic black. This lens was 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), October 2011, scheme 18/14, with a red ring. Versions for Sony / Minolta and Pentax do not have an integrated image stabilizer.
  4. Sigma DC C 18-200 mm 1: 3.5-6.3 Macro OS HSM (Optical Stabilizer, Contemporary), January 2014, Scheme 16/13. Versions for Sony / Minolta and Pentax do not have an integrated 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
  2. Sigma Zoom 18-250mm 1: 3.5-6.3 DC OS HSM MACRO (Optical Stabilizer), June 2012, 16 elements in 13 groups
  3. Sigma 18-300mm 1: 3.5-6.3 DC OS HSM MACRO | C (Contemporary, Optical Stabilizer), September 2014, 17 elements in 13 groups

Sigma C 18-200mm f / 3.5-6.3 has a small letter 'С'written in a silver circle. This letter is responsible for the class of the lens according to the modern gradation of Sigma lenses. 'C' stands for 'Contemporary' and has a modern body design for hobbyists looking for quality lenses at a reasonable price (Sigma version).

Line of lenses Sigma C (Sigma Contemporary) It comprises:

DC

Lenses for cropped SLR cameras (series DC) for different mounts:

  1. SIGMA 17-70 mm 1: 2.8-4 DC OS MACRO | C (Contemporary) [Nikon F, Canon EF / EFS, Sigma SA, Pentax K]
  2. SIGMA 18-200 mm 1: 3.5-6.3 DC OS MACRO | C (Contemporary) [Nikon F, Canon EF / EFS, Sigma SA, Sony A, Pentax K]
  3. SIGMA 18-300 mm 1: 3.5-6.3 DC OS MACRO | C (Contemporary), [Nikon F, Canon EF / EFS, Sigma SA]

DG

Lenses for full-frame SLR cameras (series DG), for Nikon F, Canon EF / EFS, Sigma SA mounts:

  1. SIGMA 100-400 mm 1: 5-6.3 DG OS | C (Contemporary) [21 / 15]
  2. SIGMA 150-600 mm 1: 5-6.3 DG OS MACRO | C (Contemporary) [20 / 14]

DC DN

Lenses for cropped mirrorless cameras (series DC DN) for Micro 4/3 mounts, Sony E, Canon EOS M, Leica L:

  1. SIGMA 16 mm 1: 1.4 DC DN | C (Contemporary)
  2. SIGMA 30 mm 1: 1.4 DC DN | C (Contemporary) [9 / 7]
  3. SIGMA 56 mm 1: 1.4 DC DN | C (Contemporary)
  4. SIGMA 18-50 mm 1: 2.8 DC DN | C (Contemporary) [only E, L]

DG DN

Lenses for full-frame mirrorless cameras (series DG DN) for Sony E / FE and Leica L mounts:

Fixes (SIGMA I series - compact premium prime lenses):

  1. Sigma 24 mm 1: 2 DG DN C | (Contemporary) [I]
  2. Sigma 24 mm 1: 3.5 DG DN C | (Contemporary) [I]
  3. Sigma 35 mm 1: 2 DG DN C | (Contemporary) [I]
  4. Sigma 45 mm 1: 2.8 DG DN C | (Contemporary) [I]
  5. Sigma 65 mm 1: 2 DG DN C | (Contemporary) [I]
  6. Sigma 90 mm 1: 2.8 DG DN C | (Contemporary) [I]

Zuma:

  1. Sigma 28-70 mm 1: 2.8 DG DN C | (Contemporary) [16/12]
  2. Sigma 100-400 1: 5-6.3 DG DN OS C | (Contemporary) [22 / 16]

Additionally, you can look at all lenses SIGMA ART (A) и all lenses SIGMA SPORT (S). Here here there is a short video about the rulers and markings of Sigma lenses.

Sigma has been trying hard lately and that’s why almost all of their new lenses of the Contemporary, Art, Sport lines are quite interesting and functional. In the Contemporary lineup, the Sigma C 18-200mm F / 3.5-6.3 lens was released second in a row.

Lens view Sigma C 18-200mm F / 3.5-6.3 DC HSM (Contemporary)

Lens view Sigma C 18-200mm F / 3.5-6.3 DC HSM (Contemporary)

Main technical characteristics of SIGMA 18-200mm 1: 3.5-6.3 DC OS HSM MACRO C:

Review Instance Name The lens barrel has the following inscriptions '18 -200mm 1: 3.5-6.3 DC ø62 Sigma MADE IN JAPAN 014 ′, on the border near the front lens it says '18 -200mm 1: 3.5-6.3 DC ø62 MADE IN JAPAN ', the review shows the lens with serial number 51019612
Basic properties
  • DC - the lens is designed for SLR cameras with an APS-C sensor, in this case it is an analogue 'Nikon DX'
  • LOCK - button for fixing the zoom ring at 18 mm.
  • HSM (Hyper Sonic Motor) - ultrasonic focusing motor, in this case it is analogous to 'Nikon SWM'.
  • AF / MF - simple focus mode switch
  • OS (Optical Stabilizer) - built-in optical stabilizer, in this case it's analog 'Nikon VR'
  • IF (Internal 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 - scale for macro photography, it is possible to shoot at very small focusing distances with a maximum magnification of 0.33X
  • С (Ccontemporary) - a line of modern lenses with good performance
  • USB Dock Compatibility - Compatible with Dock Station for flashing and / or reprogramming (adjust focus, etc.)
  • MCS (Mount Conversion Service) - theoretically, you can change the mount for compatibility with cameras of other systems (who did this, respond in the comments)
  • Lack of aperture control ring, analog 'Nikon G'
  • Bayonet hood included
Front Filter Diameter 62 mm
Focal length 18-200 mm, EGF for Nikon DX cameras is 27-300 mm
Zoom ratio 11.11 X (usually rounded to 11)
Designed by for Nikon DX digital cameras, there are modifications for other systems
Number of aperture blades 7 rounded petals
Labels focusing distance in meters and feet, focal length values ​​for 18, 28, 35, 50, 80, 135, 200 mm, mark of bayonet mount and hood mount / fix. There are labels for the magnification, from 1: 7.6 to 1: 3
Diaphragm 18 mm from F / 3.5 to F / 22. 200 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 0.39 m, maximum magnification ratio 1: 3
The weight 430 g
Optical design 16 elements in 13 groups, 3 aspherical ASP elements (in the optical diagram, aspherical elements are shown in pink) and 4 low-dispersion SLD element (in the optical diagram is shown in blue)Optical design Sigma C 18-200mm F / 3.5-6.3 DC HSM (Contemporary)Image of optical circuit clickable
Lens hood Bayonet Type, LH676-01
Manufacturer country MADE IN JAPAN (Lens made in Japan)
Production period Since january 2014
Price

By the way, maybe someone knows what the numbers '013' and '014' on the lens bodies mean Sigma C 17-70mm 1: 2.8-4, Sigma C 18-200mm f / 3.5-6.3 and Sigma C 18-300mm F / 3.5-6.3?

Rear Lens Sigma C 18-200mm F / 3.5-6.3 DC HSM (Contemporary)

Rear Lens Sigma C 18-200mm F / 3.5-6.3 DC HSM (Contemporary)

Assembly

Sigma C 18-200mm f / 3.5-6.3 in production from January of the year 2014. Assembly is made in Japan. The lens is pleasant and heavy to the touch, its weight is 430 grams, which is much less than previous similar versions. The lens uses 62 mm diameter filters.

The case is completely black and does not have a Sigma velvet coating characteristic of older models. The focus and zoom rings are rubberized. The lens body is made of a new composite material - TSCThermally Sbackgammon Composite (Thermally Stable Composite), which is less sensitive to temperature changes than conventional polycarbonate. Such a composite avoids deformation of the case with a large change in ambient temperature. This material is used by Sigma to build its' A | ART '. In addition, the lens has metal bayonet mount.

The zoom ring rotates smoothly. The retractable frame of the body (trunk) consists of two durable sections.

There is a bayonet mount mark and a mark on the case for quick installation of the hood. The lens uses a strong Sigma LH676-01 plastic lens hood, which is fixed in special grooves located near the front lens of the lens. The lens hood is small and more serves to protect the lens from light by 18 mm. 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 changing the focal length, the lens hood moves with the retractable part of the lens.

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.

Overall build quality is at a high level... The only thing that I did not like about this lens is the view of the cables and cables from the bayonet side, at long focal lengths, when the rear lens goes deep into the body frame.

Sigma C 18-200mm F / 3.5-6.3 DC HSM (Contemporary), microprocessor contacts

Sigma C 18-200mm F / 3.5-6.3 DC HSM (Contemporary), microprocessor contacts, 10 pieces

Lock 'LOCK ′

Frame (trunk) for Sigma C 18-200mm f / 3.5-6.3 spontaneously does NOT resize under its own weight (perhaps this will start only with time). On the lens case there is a focal length switch-lock 'LOCK' (the so-called 'lock'), which tightly locks focal length at a value of 18 mm.

To fix the trunk of the lens, you must first set the 18 mm focal length. 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.

The effect of spontaneous focal length change (trunk creep) in this lens is not expressed at all. Most likely, this lock went to him from the previous version.

Sigma C 18-200mm F / 3.5-6.3 DC HSM (Contemporary) with hood in transport mode

Sigma C 18-200mm F / 3.5-6.3 DC HSM (Contemporary) with hood in transport mode

Stabilizer

The Sigma C 18-200mm f / 3.5-6.3 has a built-in image stabilization. Nowhere is it specified exactly how many steps excerpts can compensate for the stabilization system. Sigma does not indicate stabilizer power in steps at all excerpts.

In my observation, the Sigma C 18-200mm f / 3.5-6.3 stabilizer compensates for no more than 4 stops per shutter speed. I was able to take pictures with my hands on shutter speed 1/20 - 1/30 sec. and 200 mm focal length.

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, Sigma C 18-200mm F / 3.5-6.3 does not automatically turn off the metering after the time interval specified in the camera 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 noise from the lens parking is heard 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 can adversely affect the battery level. I observed a similar stabilizer behavior on other Sigma lenses.

The built-in Sigma C 18-200mm F / 3.5-6.3 stabilizer can track camera movements while creating panoramas.

The Sigma C 18-200mm 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.

Lens marks Sigma C 18-200mm F / 3.5-6.3 DC HSM (Contemporary)

Lens marks Sigma C 18-200mm F / 3.5-6.3 DC HSM (Contemporary)

Diaphragm

Diaphragm lens consists of 7 rounded petalsUnfortunately, not very round aperture is formed on strongly covered diaphragms, and in the blur zone from luminous objects polyhedrons are obtained. But you can get 14 ray stars from bright light sources. At F / 6.3-F / 8, one of the petals closes stronger than the others and forms a hole with a 'sleeve'; upon further closure, this petal begins to behave normally. In 2016, it is a terrible sin to save on the number of diaphragm blades, as well as on their rounding.

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
  • 28 mm - F / 4
  • 35 mm - F / 4.5
  • 50 mm - F / 5
  • 80 mm - F / 5.6
  • 135 mm - F / 6
  • 200 mm - F / 6.3
Sigma C 18-200mm F / 3.5-6.3 DC HSM (Contemporary) and Samyang MC Mirror Lens 1: 8.0 f = 500mm

The sizes are Sigma C 18-200mm F / 3.5-6.3 DC HSM (Contemporary) and Samyang MC Mirror Lens 1: 8.0 f = 500mm

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 of the Sigma C 18-200mm f / 3.5-6.3 is heard. 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 focused accurately and tenaciously enough. Unlike previous models, the Sigma C 18-200mm f / 3.5-6.3 lacks the awful jerk when focusing. However, in low light conditions, such as in the evening, the lens / camera can often refocus. To summarize, then there is no problem with focusing.

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

Focusing on Sigma C 18-200mm 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. No hard stop (Hard Infinity Focus Stop) for fast and accurate manual focusing.

When changing the focal length, focusing is lost - the lens is not parfocal. Also, the lens suffers greatly from the change in angle of view during focusing (focus breathing). During focusing from infinity to MDF, the observed angle of view increases.

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 39 cm (the distance from the camera’s matrix to the subject). With such an MDF, the maximum magnification ratio is 1: 3. 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: 7.6 (35 mm), 1: 5.7 (50 mm), 1: 4.1 (80 mm), 1: 3.3 (135 mm), 1: 3 (200 mm). Let me remind you that those that can shoot with a 1: 1 magnification are considered to be true macro lenses.

The lens has focus mode switch 'AF / MF Focus'. 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 C 18-200mm f / 3.5-6.3 does not support manual focus control all the time.

Sigma C 18-200mm F / 3.5-6.3 DC HSM (Contemporary) with a hood

Sigma C 18-200mm F / 3.5-6.3 DC HSM (Contemporary) with a hood

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 nevertheless, 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-F / 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.

Third-party manufacturers so far (at the beginning of 2016) have not made any such super-zoom lens for SLR cameras, which would have at the long end F / 5.6. And here are the original lenses Nikon DX AF-S Nikkor 18-200mm 1: 3.5-5.6G ED SWM VR IF Aspherical, Nikon DX AF-S Nikkor 18-200mm 1: 3.5-5.6GII ED SWM VR IF Aspherical and Nikon DX AF-S Nikkor 18-300mm 1: 3.5-5.6G ED SWM VR IF Aspherical и Canon Zoom Lens EF-S 18-200mm 1: 3.5-5.6 IS use on the long end of f / 5.6.

Typically, amateur photographers do not pay enough attention to the difference between F / 5.6 and F / 6.3, but in fact the difference in aperture ratio between these aperture values ​​is almost a third of a stop.

Optical Enlightenment Sigma C 18-200mm F / 3.5-6.3 DC HSM (Contemporary)

Optical Enlightenment Sigma C 18-200mm F / 3.5-6.3 DC HSM (Contemporary)

Image quality

The lens is sharp in the center of the frame over the entire range of focal lengths, even at an open aperture. If you look closely, the sharpness in the center of the frame floats a little depending on the focal length. From 18 mm to 80 mm it decreases, from 80 to 200 mm it increases again. On open apertures, angles and edges are quite weak in terms of sharpness, but it is worth covering the aperture to F / 8-F / 11, as the sharpness is aligned. If we take into account that the lens creates an image with high contrast, then such sharpness is enough to create clear / contrast / sharp photos.

Of course, without noticeable and tangible distortion, it could not do here. At 18 mm, distortion is visible to the naked eye. Distortion changes its type and its intensity depending on the focal length. At 18 mm and F / 3.5, strong vignetting is added to strong distortion. Vignetting is very dependent on the focal length used and the number F. However, vignetting is easily treated by closing the aperture.

Chromatic aberrations well fixed. If you consider that this is an 11x zoom lens, then chromatic aberration very very small.

The lens tolerates side and backlight very well, catching glare, or falling contrast is very difficult. I like that sometimes modern dark zoom lenses have much better glare than some old fast fixed lenses.

Important: with this lens on some Nikon cameras are not available distortion control functions.

To summarize, the lens produces good image quality without any 'good enough' or 'quite good'.

Sample Photos

All sample photos were shot on camera. Nikon D3200, the gallery shows images without processing (only resize + EXIF data).

RAW source files ('.NEF') can be download from this link (39 files, 746 MB). Source files in '.JPEG' format can download from this link (42 photos, 462 MB).

Sigma C 18-200mm F / 3.5-6.3 DC HSM (Contemporary), macro marks

Sigma C 18-200mm F / 3.5-6.3 DC HSM (Contemporary), macro marks

Lens price / where to buy a lens

View real prices for the lens in popular online stores, as well as buy a lens can be done here.

Also, prices for different Sigma 18-200 class lenses can be found in the price block below:

All prices on Sigma 18-250mm

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):

  1. Model A14 Tamron 18-200 /3.5-6.3 AF (IF) Aspherical LD ​​XR DiII Macro, February 2005. Country of origin Japan or China. The Pentax version has a metal mount; for Nikon / Canon / Sony / Minolta, the mount is plastic. In March 2008, an improved model appears for Nikon cameras Tamron model A14 NII with built-in focus motor, focus mode switch, 8 microprocessor pins and metal mount.
  2. PROMASTER 18-200 /3.5-6.3 DIGITAL XR EDO AF Aspherical LD ​​(IF) Macrois a model Tamron model a14 under the brand Promaster. Japanese assembly.
  3. Model B018 Tamron 18-200 /3.5-6.3 AF Di II VCAugust 2015.
  4. Model B011 Tamron 18-200 mm F / 3.5-6.3 Di III VC, black or silver, December 2011, for cameras with Sony E mount and Canon EOS M
  5. 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.
  6. Model B003 Tamron 18-270 /3.5-6.3 AF Di II LD [IF] Aspherical VC MacroJuly 2008.
  7. Model B008 Tamron 18-270 /3.5-6.3 AF Di II VC PZD, December 2010. Country of origin China or Vietnam.
  8. Model B008TS Tamron 18-270 /3.5-6.3 AF Di II VC PZDSeptember 2016.
  9. Model B016 Tamron 16-300 /3.5-6.3 AF Di II VC PZD Macro, February 2014.
  10. Model B028 Tamron 18-400 /3.5-6.3 Di II VC HLDJune 2017.

Sigma (different mounts):

  1. Sigma 18-200 mm/3.5-6.3 Zoom DC , February 2005.
  2. Quantaray 18-200 /3.5-6.3 Dio Multi-Coated, previous lens under the delusion of 'Quantaray'
  3. 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.
  4. Quantaray 18-200 /3.5-6.3 Dio OS (+ -HSM) Multi-Coated, previous lens under the delusion of 'Quantaray'.
  5. Sigma 18-200 /3.5-6.3 II Zoom DC HSM OS (Optical Stabilizer)October 2011.
  6. Sigma 18-200 /3.5-6.3 DC OS HSM MACRO | C (Contemporary, Optical Stabilizer), January 2014.
  7. Sigma 18-250 /3.5-6.3 Zoom DC HSM OS (Optical Stabilizer)January 2009
  8. Sigma 18-250 /3.5-6.3 Zoom DC Macro HSM OS (Optical Stabilizer)June 2012.
  9. Sigma 18-300 /3.5-6.3 DC OS HSM MACRO | C (Contemporary, Optical Stabilizer)September 2014.

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 VRJune 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 mount A is likely to use an optical circuit Tamron model a14.
  2. Minolta 18-200 /3.5-6.3 AF 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 optical design Tamron model a18.
  4. Sony 18-200 /3.5-6.3 OSSmount E + its copy in the face Hasselblad E 3.5-6.3 / 18-200 OSS
  5. Sony 18-200 /3.5-6.3 OSS LE, E mount
  6. Sony 18-200 /3.5-6.3 PZ OSS, E mount

Pentax (K):

  1. Pentax 18-250 /3.5-6.3 AL SMC DA [IF], October 2007, most likely uses an optical circuit Tamron model a18.
  2. Pentax 18-270 /3.5-6.3 ED SMC DA SDM, September 2012, most likely uses an optical circuit Tamron model b008.
  3. Samsung 18-250 / 3.5-6.3, with Pentax KAF2 mount, 2008, (most likely uses optical design Tamron model a18.

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-Functionmount Samsung NX

A complete list of all original lenses Nikon Nikkor DX You can find on this page.

I believe that the Sigma C 18-200mm F / 3.5-6.3, so far, is one of the best in the class of super-zooms with a range of 18-200.

Sigma C 18-200mm F / 3.5-6.3 DC HSM (Contemporary) on Nikon D3200

Sigma C 18-200mm F / 3.5-6.3 DC HSM (Contemporary) on camera Nikon D3200, near the lens Nikon AF-S Nikkor 50mm 1: 1.4G SWM

My experience

Sigma C 18-200mm F / 3.5-6.3 turned out to be a balanced lens according to the price / quality criterion. As for a super-zoom lens, it is good. I liked him more than my own Nikon 18-200 / 3.5-5.6GII VR. Most importantly, the Sigma C 18-200mm F / 3.5-6.3 is optically no worse, and maybe even better than native ones Nikon 18-200 / 3.5-5.6GII VR и Nikon 18-200 / 3.5-5.6G VR.

The main differences between Nikon 18-200 / 3.5-5.6GII VR and Sigma C 18-200mm F / 3.5-6.3:

  1. Sigma C 18-200mm f / 3.5-6.3 9 years newer
  2. Sigma C 18-200mm f / 3.5-6.3 is 135 grams lighter
  3. Sigma C 18-200mm F / 3.5-6.3 uses filters with a diameter of 10 mm less
  4. Sigma C 18-200mm F / 3.5-6.3 has more compact sizes
  5. The number of special optical elements at Sigma C 18-200mm F / 3.5-6.3 is greater
  6. Sigma C 18-200mm f / 3.5-6.3 has smaller MDF and better magnification (better 'macro')
  7. Nikon 18-200 / 3.5-5.6GII VR It has rubber lens mount seal for dust and moisture protection of the bayonet mount
  8. Focus distance scale Nikon 18-200 / 3.5-5.6GII VR made in the form of a window, in contrast to the more primitive scale of the focusing distance, applied directly to the focusing ring of the Sigma C 18-200mm F / 3.5-6.3
  9. Nikon 18-200 / 3.5-5.6GII VR can use manual focus priority mode Nikon M / A. In addition, Nikon 18-200 / 3.5-5.6GII VR During auto focus, the focus ring remains stationary.
  10. Nikon 18-200 / 3.5-5.6GII VR has an additional switch to select the stabilizer operating mode. In addition, the stabilizer Nikon 18-200 / 3.5-5.6GII VR turns off and on more 'correct'.
  11. У Nikon 18-200 / 3.5-5.6GII VR higher aperture at the long end (F / 5.6 vs F / 6.3).

In all other respects, the lenses are very similar to each other. What to choose? I would not hesitate to take the Sigma C 18-200mm F / 3.5-6.3. The Sigma C 18-200mm F / 3.5-6.3 was introduced in 2014, when Nikon DX cameras with 24 megapixels were already sold in the yard.D3200, D5200, D7100, D5300, D3300), while Nikon 18-200 / 3.5-5.6GII VR (to be precise, its first version) was released in 2005, when the Nikon DX CZK had a maximum of 12 MP (at Nikon D2x).

In the comments, you can ask a question on the topic and they will answer you, as well as you can express your opinion or describe your experience. For the selection of photographic equipment, I recommend large catalogs, for example E-Catalog. Many little things for the photo can be found on AliExpress.

Results

The Sigma C 18-200mm f / 3.5-6.3 is a good all-round zoom lens. Sigma has been a pleasant surprise lately by producing good and even excellent lenses. The Sigma C 18-200mm f / 3.5-6.3 is an excellent example of lens quality in the new line of contemporary 'Contemporary' lenses.

Material prepared Arkady Shapoval... Look for me on Youtube | Facebook | VK | Instagram | Twitter.

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Comments: 73, on the topic: Overview of SIGMA 18-200mm 1: 3.5-6.3 DC OS HSM MACRO | C (Contemporary)

  • Alexander

    Thanks for the review! But after him, my choice became even more complicated. What is more correct to take:
    Sigma C 18-200mm F / 3.5-6.3:
    Nikon 18-105mm f / 3.5-5.6G AF-S ED DX VR
    Nikon 18-140mm f / 3.5-5.6G ED VR DX

    • Lynx

      looking for what

    • Arkady Shapoval

      These are all dark zooms. Choosing Sigma - there will be at least the largest coverage of focal lengths.

  • Lynx

    pfff ... 5,6 or 6,3 - only 1/3 of a stop.
    Fujiks have a choice for telephoto zoom - 3,5-4,8 or 4,5-6,7!

  • Alexander

    I have the previous version, which I got from hands for ridiculous money. I shot them on the D90, now on the D7100. Very good wagon. I like the speed and accuracy of autofocus. It works without misses. At medium focal lengths and apertures it gives a very sharp picture over the entire field of the frame. You can safely and with a small marriage to use for family and picnic fishing reports.

  • Olegjan

    I don’t know how sharp it is better than Nikon. They are similar in picture.

  • Anton

    And how does this lens behave when shooting video? And what is better for the video: this lens, Nikon or something else in this price category?

    • Anton

      For D5300 Camera

    • Arkady Shapoval

      The video shoots / focuses like any other native lens.

  • Andrei

    I always said that third-party manufacturers are no worse or uncritically worse, otherwise they would have closed long ago

    • Pastor

      Sometimes it's even better. For example, Tamron 15-30 2.8vs is better than any Canon shirik, while being cheaper. Even in tests it is sharper than the Nikon 14-24 2.8, which has been an icon of sharpness in super-wide zooms for several years in a row. The same sigma art is very cool, Nikon's fifty dollars and nothing at all against 50 1.4 art can not do. Canon has at least 1.2L, but it is inferior in sharpness to sigma. Another new tamron 70-200 2.8vs is very cool, judging by the tests at the level of Nikon 70-200 2.8vr2 and only slightly inferior to 70-200 2.8 lis2. Considering its price, it's a fairy tale. So I agree that third-party glass manufacturers are not just floundering somehow afloat, but are developing quite interestingly. True, in my opinion, I haven't heard anything for a long time, the last thing I noticed was 11-20 2.8 and that's it. No zooms and even less fixes. But sigma, tamron and samyang are developing, now the yungnuo are still connected.

      • Arkady Shapoval

        Tokina 14-20 / 2.0 DX recently released, too, an interesting beast.

        • Pastor

          Oh thanks! With sigma 50-100 helped, now with tokino :) Something I don't follow the news at all. The aperture, of course, is steep, but the focal ones are somehow not impressive. I still scolded 11 mm tokinu at a wide angle, but here it is 14 ... But in any case, a cool lens. Something all third parties began to produce something unique, then sigma with its high-aperture zooms, then tamron with stabilized fixes. In general, it is interesting when Nikon or Canon will release their zoom with aperture of 2.0. And what price will it have :)

          • anonym

            When a zoom appears with such a speed from Nikon and you know its price, the interest will immediately disappear by itself.)

            • Pastor

              Well, why, suddenly it will be something really good, for which money is not a pity. For example, 70-150 2 BP. I would take this at a price slightly higher than the current 70-200 2.8vr2. Well, many would have taken, I think. And for some 24-50 2 bp, I think there would be buyers.

          • anonym

            Such appeared http://magazilla.ru/desc/tokina-at-x-14-20mm-f-2-0-pro-dx/

            • Maksim

              I wonder if anyone will shoot at super wide at aperture 2.0?
              :)
              For me, Tokina 12-24 f4 is beyond praise.

              • fotika

                you are mistaken, you can shoot at 1.4 if the lens is good, at infinity width can be after 1 meter.
                http://evtifeev.com/37653-progulka-obzor-zeiss-otus-28-1-4-ze.html

              • Andrei

                12-24 was a great lens, but already a museum -)
                here is a 12-28 song! same quality, but super wide and staff in one bottle

              • Andrei

                Fotica But how does infinity depend on the quality of the glass?
                I think Maxim meant the width of the rip, and it depends only on the aperture value, focal length and focusing distance.
                Strong blur on the width still can not be achieved, then it would be better if everything is in focus. So that everything in focus should be pressed aperture. And why do you need a huge expensive lens, if you still shoot on a preloaded one? It may be better to have an inexpensive and small one, but in order to shoot it was possible in the open?

              • Andrei

                Fotica gives me aperture 4 and enough for portraiture. It’s better to have honest 90/4 than conditional Jupiter-9

              • anonym

                fotika, according to your link 28mm is not at all 20mm, like the new tokina and the aperture ratio of 1,4 and 2.0 are also 2 big differences. + there is a fix, and tokina is a zoom, so its sharpness at 2.0 will not be comparable to that which this Zeiss gives

              • fotika

                it was not about a specific lens but about aperture! don't take words out of context. Read carefully Maxim’s message and my answer. Who will shoot at super wide and at aperture 2.0?
                I gave an answer.

                P / S, most of the landscapes were shot at infinity, if you do not vkurse)))

                and judging by your answers you are a little off topic. read carefully everything from beginning to end on the link that I gave above. if you take 200 f 1.8 and focus on infinity you will see everything in sharpness. even at 1.8. and the hole is pressed due to the fact that most lenses are technically unable to provide a sharp picture, read about diffraction for example. it will be useful.

              • Andrei

                I also do not understand who will shoot at a hole 2,0.
                For a full frame, I do not see the advantages of 28 / 1,4 over 28 / 2,8.
                At infinity, on an open rip start at about 15m, at the second with 20m. In the daytime without a tripod, you can easily remove it from an open one. At night, any tripod is needed. In the morning, in most cases, also needed. If you cover, then there is no difference at all.
                But the difference in price and mass will be huge.
                If you take a wider angle, the benefits will be even less, and the price and weight even more.

                And why should I read about diffraction? with the exception of macro, I don’t squeeze a hole stronger than 10, and with such a hole, even on a crop, diffraction will not make itself felt.

              • Arkady Shapoval

                F / 1.4 is needed for those who know a lot about business. For example, to just shoot a... + TOP shirik is TOP shirik + if it has 1.4, then at 2.8 it will be brutally good, unlike 28 / 2.8, which is good at 2.8, but no more, for small-pixel cameras it is critical. The question is not in the depth of field, the question is in the tasks solved by the lens.

              • Andrei

                bye. for 28 \ 2.8 from about 10m the rip will begin

              • Peter Sh.

                In fact, on open apertures they shoot in the dark, with hands.

        • Koba

          And the new Tokina 24-70 / 2.8 kilogram in terms of testma in the internet and, in general, bypasses analogs in picture quality and resolution ... And the Chinese Laowa walk and manual, but with the quality there everything is in order and with manufacturing ... So there are interesting lenses in the world, not only brands ...

  • anonym

    Why write about the “vacuum cleaner effect” in every review? Are you a humanist, Arkady?

    • anonym

      Let me explain the elementary mechanics in the camera body 2 things are sensitive to dust: a mirror and a sensor. Which clean elementary and over time, and so it is necessary.
      There are 16 dust-sensitive glass elements in the lens housing, and if the rear lens is static, then when zooming, the lens itself will suck in air. Disassembling the lens for cleaning is not as trivial and cheap as you might think.
      So I recommend that you stop focusing on this detail in future reviews.

      • anonym

        * attention in negative quality

      • BB

        with the viewfinder is not so simple, especially with the pentazerkal. A dusty pentamirror must be replaced (not cleaned). So this is a very controversial point.

    • Arkady Shapoval

      I do not focus. This is the same property of the lens as the others.

      • anonym

        Arkady, what if, looking down and blushing slightly, I begin to assert that Tokina 11-16 by 2,8 is just “outrageously good”?

        • Alexey

          RAV can lay out? to see how "brutally good"?

          • anonym

            What can surprise a happy owner with a width of 1,4!)

        • Arkady Shapoval

          can blush :)

          • anonym

            The blush disappeared and bewilderment appeared on my face. You really should hit one bank. "And the aperture ratio is not always so important for the width." (From the review of Tokina 11-16 by a very respected photographer.)

            • Arkady Shapoval

              Indeed, it is not always as important as they say about it, nevertheless, it is important. About the sharpness of the lens 24 1.4 by 2.8 and tokens 11-16 / 2.8 - think for yourself :)

              • anonym

                I’ll cover the aperture on Tokin to 5.6 and you and I will be equal in sharpness. Only the shutter speeds will be different.

              • Arkady Shapoval

                So you yourself wrote about the difference. F / 2.8 and F / 5.6 are two stops difference, shutter speed will differ by 4 times with other settings being equal. If I can do sharp frames for 1/20 of a second without any problems, then for the same sharpness with Tokina I will have to use 1/5 of a second.

              • Michael

                And at 24MPix, at f / 5.6, the diffraction threshold (for crop) is already there, and if you close it further, the sharpness drops again ... So you can't cover it too much

              • Oleg

                Lenses that are cutting at aperture value of 2.8 when focusing on infinity have one minus - they are damn expensive

              • Peter Sh.

                Samyang 35mm f / 1.4 will be sharper and more contrast than any Nikon shirik for any money. I have one, I speak absolutely objectively.
                It costs absolutely nothing (comparatively of course).
                But he only has one manual autofocus, and is not calibrated for infinity.
                None are calibrated, I don't know why. They say that it is very dreary, that the Korean does not bother.

              • Oleg

                It’s not very bad that Samyangs help us out

              • Michael

                The question is mainly in the price, otherwise everyone would have shot at 24-70 2.8, 24-35 2.0, etc. etc., and even better at 24 1.4)))

  • Andrei

    “In 2016, it is a terrible sin to save on the number of diaphragm blades, as well as on their rounding.” - all manufacturers would think so !!!

  • ASP

    The numbers “013” and “014” (as well as “012”, “015”, “016”) on Sigma lens bodies indicate the last three digits of the year the lens was launched, ie. “012” is 2012, “013” is 2013, etc. (These numbers are only on the new Sigma Global Vision lenses, which began to appear in 2012).
    I think this was introduced in order to distinguish between lenses of different years of release, because one and the same object may well undergo minor changes in design over the years of production, and there is no reason to assign it a new designation (the optical scheme is the same, but the control board, electric drive, etc. were changed).

    • Arkady Shapoval

      Thank you!

  • Sergei 02

    Having sold my Nikor16-85, I already found Nikorr18-200, but then I received a newsletter with this review. I liked the photo from it. After looking at the market, I found this lens. For 19k with delivery, I bought a new one, and Nikonovsky wanted to buy a used one for 20k. I had a lot of different lenses, Nikorov’s zooms (I tried fixes, not mine) and Sigma 30 1.4 (I didn’t like it, because of the unpredictability of focusing) . And this one is even nothing, the focus is accurate, the focus motor is quiet, like Nikors. As for the vignettes and other things, I'm not worried about the dark either (it helps SB 900). It is pleasant in the hands, not heavy. Kontru also tolerates well, like a bowl. I practically do not use the speed, I prefer the shutter speed shorter. In a word, the lens pleases. Even the opinion of sigma has changed for the better.

  • Sergei

    Good afternoon, after reading on your site about the sigma 18-200 lens, I came to the conclusion that this is a good lens. And he decided to purchase. After the purchase, I was a little redistributed since it does not focus through the screen and video either. Only manually can focus through the screen. (((

    • Misha

      It focuses on me.

      • Koba

        This lens is the sharpest of all superzoom. It has only two drawbacks - it is darker than Nikon's on the long end, and there is also no elastic band on the bayonet for basic dust and moisture protection. But there is also a plus - it stands at the level of the first Nikon 18-200 on the secondary market in a new state.

  • Jeanne

    Hello Arkady, is it worth taking this lens with your hands? They sell for about 3500 in rubles. Is this a normal price? And what to look for in this lens? Where can shoals usually be?

    • Arkady Shapoval

      Yes, the lens itself is good. Check everything you can pay attention to.

  • Lamer

    zoom ratio 8,2.

    • Arkady Shapoval

      what?

  • Kvark

    Something this lens is praised, IMHO. Test results https://www.dpreview.com/reviews/sigma-18-200-3p5-6p3-os-n15/3 They speak not in his favor. There is a sharpness gap of 80 mm, even though covering the diaphragm, and sharpness is not so good at the long end. Tamron 16-300 and even better.

  • Cart

    After reading the review, I fired up buying this lens. Finally bought (new) and was unpleasantly surprised. It gives the most mediocre result, nothing unusual. Nothing is better than the old Pentax SMC 18-250mm 3.5-6.3 (aka Tamron) which was not very flattering on the same site. As for me, Pentax will be brighter and sharper. I regret the purchase, I do not need two almost identical lenses.

  • Nicholas

    why is it written in the table - “DC - the lens is designed for SLR cameras with APS-C sensor, in this case it is analogous to 'Nikon DX'” and then they write - “Focal length-18-200 mm, EGF for Nikon DX cameras is 27 -300 mm ”why 27-300 mm if the lens is designed for cropped cameras then it will be 18-200 mm, explain how?

    • Novel

      Same. The field of view of this lens will be the same as that of a 27-300 lens at full frame. The EGF recalculation was invented for those who are used to film (full frame) and, when switching to crop, expects 18mm to be wide enough (but in fact not so much).

    • Valery A.

      Bast-wet ... Arkady, probably, should write a separate article about EGF and place it in a prominent place. The fact is that the idea of ​​the viewing angles of the lens is usually learned from their work on the FF (of which there were very many in the film era, but few crops). You and I know that, say, 28mm on FF is quite wide, 18mm is super wide, and 50 is a normal fix. Someone put a zoom 18-200 on some unknown crop, we are interested in what angles it gives on this crop, what is there you can see, what kind of EGF? And, 27-300, this is cool, this is the entire focal range (almost) on our FF. And the fact that the lens is designed for a crop of 1,5 means that it gives a spot of light covering the sensor 25 * 17mm, but not 36 * 25, on which it will draw a circle (or a strong vignette). And if you put fifty dollars on a crop of 1,5, it will give a viewing angle of 1,5 times Narrower than on FF, the EGF will be 75mm, the same, by the way, as 50mm on any zoom lens on a crop.

    • Arkady Shapoval

      This is the most common question for beginners :). He will be 18-200 with an EGF of 27-300

  • Gleb

    Gentlemen comrades! I re-read many reviews and comments, but did not make a definite conclusion for myself. For shooting objects and jewelry I need an 80-500 type lens with MDF <35cm, and very sharp. But, unfortunately, they don't. So I'm looking for two lenses. Can anyone advise the sharpest lens at a focal length of 300-500 with at least 35cm MDF, and such a universal macro zoom? The sharpest. Pretty bokshechki are not interested. You need a very sharp picture at closed apertures. For Pentax. If something is not produced for it, then for Nikon.

    • Arkady Shapoval

      Very sharp and versatile and macro and zoom - very difficult to find. Very sharp, for example, Nikon 200/4 micro, versatile - this one in the review.

      • Gleb

        Arkady, how is this lens sharpened compared to Pentax 18-135, 18-250 and 18-270?

        • B. R. P.

          Why for a piece of jewelry zoom, and even 80-500? For increases greater than 1: 2, 1: 1? Take a macro lens + ring or macro converter. Or macromech, after all.

          • Valery A.

            Have you considered macro lenses? Pentax has both 50 / 2,8 and 100 / 2,8. Although it depends on the wallet and requirements. I like the macro from an inexpensive Nikon 28-105, MDF 22cm, I stole it. 1: 2. Can Pentax have something like that?

            • Gleb

              Macro needs 400 or 500 focus distance, they don't. And if you remove the ring 100, then one edge is sharp, the other is not sharp, or the stone is sharp, and the edges of the ring are both not sharp. You need to shoot not from the side, but in isometric view. Even on diaphragms 22-32, the grip is very small and the whole ring cannot be made sharp. Usually photographers shoot two frames with different focusing points, and then combine them in Photoshop. But on large volumes - not an option

              • Valery A.

                Then, probably, to you for a shooting survey. Here, either stitch frames shot from a tripod with a manual focus shift through the program, or in modern Olympuses (maybe someone else, I heard from the d850), a stack photo is taken inside the camera.

              • Valery A.

                P.S. stacking survey.

              • B. R. P.

                If the flu is 100mm small, then the hypothetical 500mm will be even smaller.

  • Still

    Does it make sense to replace the 1st series with it, or is it better to Nikkor 18-200?

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