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

Browse Navigation:

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

Please note that the Sigma Zoom DC 18-250mm 1:3.5-6.3 DC MACRO OS HSM lens is available with different mounts. This review shows the version of Sigma Zoom DC 18-250mm 1: 3.5-6.3 DC MACRO OS HSM for SLR cameras with Nikon F mount and APS-C sensor (Nikon DX). At the same time, Sigma Zoom DC 18-250mm 1: 3.5-6.3 DC MACRO OS HSM is also available with Sony A (aka Konica Minolta A), Pentax K, Sigma SA and Canon EF / EF-S mounts.

In this review, I will abbreviate the Sigma Zoom DC 18-250mm 1: 3.5-6.3 DC MACRO OS HSM lens - 'Sigma 18-250mm Macro'.

In short

The Sigma 18-250mm Macro is a versatile lens for SLR cameras with an APS-C sensor. The lens uses a very large range of focal lengths. Interesting image stabilizer, ultrasonic focusing motor, internal focusing and small size (when folded). The Sigma 18-250mm Macro can shoot at a maximum magnification of 1:2.9 (pseudo macro).

From an earlier model Sigma Zoom 18-250mm 1: 3.5-6.3 DC OS HSM (2009) is significantly smaller in size and weight, the optical design is also updated.

Optical characteristics are similar to other similar superzooms and do not shine with high performance.

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 refined and underwent many various changes. And due to the fact that Sigma also produces lenses with different mounts, for Nikon, Canon, Pentax, Sigma, Sony / Minolta systems, there can be a huge number of different sub-versions and versions of the same model. I divided the main versions according to optical schemes:

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

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

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

The easiest way to identify the Sigma 18-250mm Macro is by the words 'MACRO HSM' next to the focal length marks or 'DC MACRO OS' next to the front lens. Although the previous version does not have the 'MACRO' prefix, it can also focus very close.

The Sigma 18-250mm Macro lens line will no longer be developed, in addition to its addition, a “longer” version was released - Sigma C 18-300mm F3.5-6.3 DC MACRO OS HSM, and the development and production of new lenses for SLR cameras were completely discontinued.

Main technical characteristics of Sigma Zoom DC 18-250mm 1: 3.5-6.3 DC MACRO OS HSM:

Review Instance Name	On the border near the front lens it says 'Sigma Zoom 18-250mm 1:3.5-6.3 DC MACRO OS HSM ø62 LENS MADE IN JAPAN'
Basic properties	DC - the lens is designed for SLR cameras with an APS-C sensor, in this case it is an analogue 'Nikon DX' ZOOM - the ability to change the focal length of the lens LOCK - button for fixing the zoom ring at 18 mm. HSM (Hyper Sabout nothing Motor) - ultrasonic focusing motor, in this case it is analogous to 'Nikon SWM' AF / M - simple focus mode switch OS (Optical Stabilizer) - built-in optical image stabilizer, in this case it is analogous to 'Nikon VR' IF (Iinternal Focusing) - internal focus Super Multi-Layer Coating - super multicoated optics ASP (Aspenherical) - aspherical elements in the optical scheme SLD (Special Low Dispersion) - special low-dispersion elements in the optical scheme to combat chromatic aberrations. Analog 'Nikon ED' MACRO 0.35m / 1.16ft - it is possible to shoot at very short focusing distances with a maximum magnification of 1: 2.9 Scale for macro photography with magnification Lack of aperture control ring, analog 'Nikon G' Bayonet hood included Relatively small size and weight TSC (Thermally Sbackgammon Composite Material) - thermally stable body material
Front Filter Diameter	62 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 Sony A (no OS) Pentax K (without OS) Sigma sa Canon EF / EF-S Nikon f
Number of aperture blades	7 rounded petals
Tags	focusing distance in meters and feet, focal length values ​​for 18, 28, 35, 50, 80, 135, 250 mm, bayonet mount and lens hood attachment / fixation mark. There are marks for magnification
Diaphragm	18 mm from F / 3.5 to F / 22. At 250 mm from F / 6.3 to F / 22. The lens is devoid of an aperture control ring, control is via the menu / camera controls (similar to Nikon G - lens type)
MDF	0.35 meters, maximum magnification ratio 1:2.9
The weight	470 grams
Optical design	16 elements in 13 groups, 3 aspherical ASP elements (in the optical diagram, aspherical elements are shown in pink) and 1 low-dispersion SLD element (in the optical diagram are shown in blue) Image of optical circuit clickable
Lens hood	LH780-04
Manufacturer country	LENS MADE IN JAPAN (Lens made in Japan)
Production period	Since June 2012
Official sources	Official site
Price	About 400 dollars see the current price with free shipping on AliExpress.com

The first such lens was the Tamron AF 18-250mm F/3.5-6.3 Di II LD Aspherical [IF] Macro (Model A18). Nowadays, Tamron continues to be the first to release lenses with ever larger zoom ratios. Even giants like Nikon and Canon can't keep up with the pace at which Tamron's versatile super-zoom lenses come in. An example of such a lens is Tamron 18-400/3.5-6.3 Di II VC HLD ($750).

Assembly

The Sigma 18-250mm Macro was made in Japan. To the touch, the lens is pleasant and weighty. The retractable frame of the body ('trunk') consists of 2 sections, which are quite strong, without any backlash. The lens weighs only 470 grams and uses fairly common filters with a diameter of 62 mm.

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.

The lens barrel is made of a new composite material - TSC — Thermally Sbackgammon Composite (Thermal Stable Composite), less sensitive to temperature changes than conventional polycarbonate. Such a composite allows avoiding deformation of the body with a large change in the ambient temperature. From this material, Sigma manufactures its lenses of the 'ART(A),CONTEMPORARY (C)'and'SPORT (S)'.

There is a bayonet mount mark and a mark on the case for quick installation of the hood. The lens uses a plastic hood, 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:

• When changing the focal length, the rear lens moves in the middle of the lens barrel like a pump - it draws in and pushes air out. This behavior of the rear lens 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.

Lock 'LOCK ′

Rim (trunk) for Sigma 18-250mm Macro 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 shooting. But myself the switch is very inconvenient in use - it is not always clear what position it is in at the current moment, it can be easily hooked and changed the set position.

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

Stabilizer

The Sigma 18-250mm Macro has a built in Image Stabilizer. The stabilizer can compensate approximately 4 steps 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 handheld pictures of stationary objects. 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'.

On cameras Fujifilm FinePix S3 Pro и Nikon D5300, on which I tested this lens, the Sigma 18-250mm Macro does not automatically turn off the metering after the time interval specified in the settings. The stabilizer works 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 D5300 I managed to get about 100 shots with the Sigma 18-250mm Macro and stabilizer on.

The Sigma 18-250mm Macro variants for Sony and Pentax cameras do not have a built-in IS, as the IS is already present on the sensor itself.

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 focusing noise of the Sigma 18-250mm Macro is present. The lens focuses quite quietly, but not silently.

The lens must work correctly on all Nikon DX digital SLR cameras.

When using on camera Fujifilm FinePix S3 Pro with unpretentious Multi-CAM 900 focusing system the lens often refocused while operating in the 80-250mm range.

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 at Sigma 18-250mm Macro internal - when focusing, the front and rear lenses do not rotate, and the lens itself does not change its size when focusing. It's a pity, but during auto focus, the focus ring rotates and cannot be touched. In these Nikon lenses, the focus ring remains stationary during auto focus.

In manual focus mode, the focus ring rotates 45 degrees. Rotation is jerky. 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 35 cm (the distance from the camera’s matrix to the subject). With such an MDF, the maximum magnification ratio is 1: 2.9. 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: 9.5 (28 mm), 1: 7.8 (35 mm), 1: 5.8 (50 mm), 1: 4.2 (80 mm), 1: 3.3 (135 mm), 1: 2.9 (250 mm).

Note: if you shoot objects located on a horizontal surface, then when focusing at the minimum possible distance, you can hook the frame of the body and / or the lens hood on this very surface.

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 Macro does not support full-time manual focusing.

The Sigma 18-250mm Macro has strong 'Focus Breathing' effect (changes in viewing angle during focusing). During focusing towards the MDF, the viewing angle increases. One gets the feeling that at 250 mm focal length and focusing on MDF, the real focal length is in the region of 200 mm. Often inexperienced photographers and amateur photographers make the erroneous conclusion that the set of focal lengths of the Sigma 18-250mm Macro is not true, but in fact the lens uses an “honest” range from 18 to 250 mm.

When changing the focal length, focusing is lost, the lens is not parfocal.

It's important: on system mirrorless cameras Nikon ZDX и Nikon ZFX using the original F-> Z adapters, most likely, auto focus will work very poorly.

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 mode, the restriction to F / 6.3 may not work. Limitation when working with mirrorless cameras Nikon ZDX 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.

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

Image quality

The lens was developed at a time when there were already cameras with a 24 MP APS-C sensor.

It is believed that such default superzooms cannot produce good image quality. But everything depends very much on focal lengths, aperture values, excerpts and parts of the frame. In general, the Sigma 18-250mm Macro is a classic representative of its family and it is sometimes very difficult to achieve high image quality.

The following describes the capabilities of the lens without taking into account software improvements.

Sharpness/Resolution

• confident sharpness at an open aperture in the center of the frame in the range of 18-80 mm
• low sharpness at the edges and corners of the frame by 18 mm at F / 3.5, sharpness at the edges of the frame becomes acceptable after F / 8.0
• good resolution in the center of the frame on covered apertures (in the F / 8 region) in the range of 18-80 mm
• there is a general drop in sharpness after 80mm focal length
• in the range of 80-250 mm, the lens is weak at almost any aperture
• 250 mm sharpness is best in the range of F / 8-F / 11, but still at an insufficient level, the edges of the image never come back to normal at any value of the focal length

Distortion

• the overall level of distortion is at a level typical for such lenses
• strong distortion over almost the entire range of focal lengths
• in the wide-angle range, the distortion pattern is barrel-shaped, after 50 mm of the focal length and up to 250 mm - pillow-shaped
• the nature of distortion is unified, easily corrected in the editor

Vignetting

• the overall level of vignetting is at a level typical for such lenses
• vignetting is most pronounced at the extreme positions of the focal length
• vignetting almost disappears at F / 5.6 for 18 mm and F / 11 for 250 mm
• vignetting is practically independent of the focusing distance
• vignetting is easily fixable in the editor

Aberration

• lens slightly chromatic aberrations
• strong chromatic aberration only at the corners and edges of the frame by 18 mm and in the range of 135-250 mm
• least chromatic aberration in the middle focal length range, from about 50 to 100 mm
• strong milling

Rest

• the lens behaves poorly in strong backlight, creates a lot of glare (example)
• getting the effect of a 14-ray star is quite difficult
• sometimes you can get neutral and even pleasant bokeh (especially in the TV range)
• there are concentric 'onion' circles on the blur disks (the effect of aspherical elements)

For the Sigma 18-250mm Macro, there is a lens profile for popular RAW converters, which allows you to easily and easily correct some optical lens imperfections, such as distortion or vignetting.

Sample Photos

All sample photos were taken with the legendary camera Fujifilm FinePix S3 Pro (Nikon F mount, APS-C sensor, full analogue of Nikon DX). All done according to the rules ZEROJPEG.

JPEG source files ('.jpg') can be download from this link (50+ photos, Google Drive gallery).

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

Promaster (various mounts):

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

Sigma (different mounts):

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

Quantaray (different mounts):

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

Nikon (F):

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

Sony ('A' or 'E'):

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

Hasselblad (Sony E):

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

Pentax (K):

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

Canon (EFS):

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

Samsung (NX):

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

My experience

Sigma 18-250mm Macro is very comfortable and pleasant to use. Sigma 18-250mm Macro is optically just a tad better than the older version Sigma Zoom 18-250mm 1: 3.5-6.3 DC OS HSM (year 2009). The difference must be scrupulously searched for using pixel hunting.

For home, leisure, travel, I could easily shoot with the Sigma 18-250mm Macro (from this review). Superzoom does not require stunning professional image quality, and the image quality that the Sigma 18-250mm Macro delivers is quite enough for amateur photo tasks.

I am a big fan of super zooms and sometimes secretly dream about Tamron 18-400mm ($750).

Results

With the Sigma 18-250mm Macro, a classic all-round lens with many features. Relatively low cost makes it a good replacement for original similar solutions (like Nikon 18-300mm).

10 main advantages:

1. a very convenient set of focal lengths for working on cropped cameras with an APS-C sensor
2. 4 steps integrated image stabilizer
3. aspherical and low dispersion elements are used in the optical design
4. internal focusing, there is a built-in HSM focus motor (critical for owners of Nikon DX cameras from the younger line)
5. good build quality: metal mount, sturdy TSC plastic case, durable hood included
6. compact dimensions, front filter diameter is only 62 mm
7. fairly light weight (160 grams lighter previous version)
8. good coefficient for pseudo-macro photography, a record among all similar lenses from Sigma class 18-200 / 18-250 / 18-300
9. there is a lens profile in popular RAW converters (simplifies the automatic correction of some distortions)
10. low cost (significantly lower than the original Nikon DX AF-S Nikkor 18-300mm 1: 3.5-6.3G ED SWM VR IF Aspherical)

10 main disadvantages:

1. small aperture, due to this, focusing problems with some cameras are possible
2. focus ring rotates during auto focus
3. focus speed is slow
4. only seven aperture blades
5. very strong and unpleasant effect of the air pump
6. extremely inconvenient and difficult manual focusing (small ring pitch, accuracy of distances in the region of infinity)
7. built-in image stabilizer behaves strangely
8. the profile from the Sigma 18-250mm Macro is not wired into modern Nikon cameras, which makes it difficult to automatically correct some distortions
9. strong 'Focus Breathing' effect
10. low optical performance

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