Sigma 70-200mm F2.8 Macro HSM II Specification Review

The 70-200mm F2.8 EX DG Macro HSM II is one of Sigma new contacts, which was first declared in Dec 2007 for Canon, Nikon and Sigma, with a number of follow-on produces including interface for the staying SLR installs (i.e. Four Thirds, Sony models and Pentax; however none of these editions are yet shipping). It’s a heir to the 70-200mm F2.8 EX DG Macro HSM of Feb 2006, with a enhanced visual structure providing enhanced visual efficiency, and becomes the 4th version of the same primary EX style first revealed in 1999 (which was itself beat by a well-respected 70-210mm F2.8 for 35mm). The HyperSonic Engine (HSM) concentrating system guarantees quick, quiet and precise auto-focus for customers of all manufacturers of DSLR, although Pentax customers must be conscious that this lens is successfully of ‘KAF-3’ install requirements, and therefore won’t concentrate on systems which don’t assistance SDM contacts. Aside from that particular incompatibility, this is a style which will work on almost every DSLR ever made, and is therefore of uncommonly wide customer attraction.

Sigma 70-200mm F2.8Sigma 70-200mm F2.8
Sigma 70-200mm F2.8

Sigma are attached to using a many characters in their lens titles (presumably on the key that when experienced with an option, audience will buy the one with the most initials) and the 70-200mm states its qualifications accordingly. ‘EX’ appears for ‘Excellence’ and designates Sigma’s top quality lens line, with excellent develop and visual quality, while ‘DG’ signifies that the lens coverings are enhanced for use on electronic SLRs, and the picture group includes the full-frame Negatives structure. Lastly ‘Macro’ is a suggestion towards the closer-than-usual lowest concentrating variety of just 1m, which analyzes positively to the 1.5m more common contacts of this category, although it has lately been trumped by the 0.95m of Tamron’s SP AF 70-200mm F2.8 Di LD (IF) Macro.

Key Features

  • 70-200mm central duration range; quick F2.8 continuous highest possible aperture
  • HSM (ultrasonic type) auto-focus with full-time guide override
  • To be available in Canon, Nikon, Four Thirds, Pentax, Sigma and Sony/Minolta mounts

Body And Design

The 70-200mm F2.8 is a member of Sigma’s top quality ‘EX’ lens range, and construction seems truly excellent, especially for the price. This is a lens which seems more enhanced in fit and complete than its Tamron edition, and certainly seems to be completely strong and effective to stand up to some pretty heavy use and misuse. However it doesn’t coordinate the actual level of ‘bombproof’ develop accomplished by the Canon and Nikon styles, and does not have the same degree of closing and ecological protection (for example, there’s no lens install seal); as so often in life, you get what you pay for.

Sigma 70-200mm F2.8 Body And Design
Sigma 70-200mm F2.8 Body And Design

This lens is the quickest in its class, but has a relatively wide gun barrel especially towards the back of the lens, putting it at the exact reverse end of the style variety to the long, thin Nikon. It’s still pretty significant by most users’ requirements, and therefore potential upgraders should appreciate that it’s considerably bigger and bulkier than customer telezooms such as 70-300mm F4-5.6s. It’s unlikely to be the ideal journey lens for most customers, no matter which city or country they’re going to.

Lens body elements

  • The lens will be available in installs for all currently available DSLRs (Canon, Nikon, Sony models, Pentax, Sigma, and Four Thirds); our example here is the Nikon F edition.
  • The narrow line is 77mm as is common for contacts of this kind, and does not move on autofocusing (which should be welcome for narrow users).
  • The 80mm/3.1″ deep petal-type lens bonnet features molded inner rib cage to reduce the representation of wander light into the lens, and turns around nicely for storage. The bonnet suits to the front of the lens via a bayonet mount; for those who have trouble with such things, Sigma has helpfully involved positioning spots plus arrows noticeable ‘In’ and ‘Out’ showing the route you need to turn it. Nice.
  • The zoom capability band moves 80 levels clockwise from 70mm to 200mm, i.e. the ‘right’ way for Nikon, Pentax and Sony models customers, but reverse to Canon and Olympus contacts. The ribbed rubberized hold is 23mm extensive, and the zoom capability activity sleek and well-damped.
  • The concentrate band is 37mm extensive, does not move during auto-focus, and again the experience is sleek and accurate. It moves 140 levels clockwise from infinity to 1m (this time the ‘right’ way for Sony models, Olympus and Canon customers, but reverse to Pentax and Nikon lenses). This is considerably longer journey than the Tamron, which makes accurate guide concentrate much more uncomplicated. The position of view clearly reduces on concentrating nearer.
  • Canon customers will find a traditionally placed activate the side of the lens gun barrel to select between auto and guide concentrating ways. Because the lens uses a ring-type ultrasound concentrate motor, all customers will benefit from ‘full-time’ guide concentrate, with the ability to modify the main concentrate setting even when the lens is set to AF.
  • A distance range is provided with represents in both your legs and metres. Sigma have involved as well a detail of area range, with the warning (hidden away in the user manual) that it’s only legitimate at 70mm. A little playing with detail of area equations also indicates that it’s been measured for the Negatives complete structure structure, so it won’t be really useful for the majority of customers (and could be absolutely deceiving for some).
  • The lens comes with a removable tripod install band, which is covered with a Teflon sleeve for sleek spinning. The road at the top adjusts with represents organized at 90 levels around the lens for scenery and image types. The brilliant easy-to-open style allows fast elimination when the lens is designed to the camera; simply perspective the button to launch the band for spinning, and take it in an outward route to launch the band completely.

Sigma 70-200mm F2.8 Images Quality

Full-frame in comparison to DX

Eagle-eyed audiences will no doubt have seen that the MTF50 sharpness information at any particular central length/aperture mixture is remarkably greater on full-frame when in comparison to DX. This may at first vision appear surprising, but in fact is an unavoidable result of our demonstration of the sharpness information with regards to range sets per image size (and thus outside of structure size).

Quite simply, at any given central duration and aperture, the lens will have a set MTF50 information when indicated with regards to range sets per mm. In order to become lp/ph, we have to increase by the indicator size (in mm); as the full-frame indicator is 1.6x larger, MTF50 should therefore be 1.6x greater.


The complicated visual style of 70-200mm F2.8 contacts usually makes them rather vulnerable to surface under undesirable conditions, and the Sigma is no exemption. It’s still able to handle most daily conditions completely properly, but can sometimes run into serious problems, especially with powerful light resources just outside of the structure.

Sigma 70-200mm F2.8 images Quality flare
Sigma 70-200mm F2.8 images Quality flare

Our two ‘real-world’ surface illustrations show the Sigma acting in a generally similar fashion to the Tamron 70-200mm F2.8 Macro. With the sun placed in most of the structure at wideangle, image reveals a dissipate surface spot design running diagonally across the structure. On the other hand, with the sum placed just outside the area of view at 200mm, huge areas of image can be protected in shiny veiling surface, basically making the taken useless. However once again it’s important to be aware that these illustrations are somewhat produced ‘torture tests’, and are not exactly common of common capturing conditions.

Bokeh Quality

One truly suitable, but difficult to evaluate part of a lens’s efficiency is the ability to provide efficiently blurry out-of-focus areas when trying to separate a topic from the qualifications, usually when using a long central duration and enormous aperture. The Sigma generates sleek and eye-catching bokeh for macro photos, but is also vulnerable to giving undesirable red/cyan fringing around a little bit out-of-focus areas. Once the topic variety improves, the qualifications can also become somewhat ‘busy’ and annoying. Overall, the Sigma isn’t too bad here, but neither is it best in category in this respect.

Sigma 70-200mm 200mm F4, Nikon D5
Sigma 70-200mm 200mm F4, Nikon D5

Chromatic aberration

This lens is different to the first 70-200mm zooms we’ve examined, which have all been enhanced to give near-zero chromatic aberration in the center of the product variety, with low levels of red/cyan fringing noticeable at 70mm and 200mm. However Sigma have taken a different strategy, and decreased CA at 70mm instead. Fringing then improves continuously in scale through to 200mm, and at this factor it can be remarkably noticeable on both DX and FX types at great comparison sides (black on white, as shown here, it generally the worst-case scenario). There’s great news for customers of high-end Nikons though; the automated CA modification of the D3, D700 and D300 works well with this lens, making essentially no noticeable fringing in Camera JPEGs.

Close-up performance

The unique Sigma 70-200mm F2.8 EX style started life with a lowest concentrate variety of 1.8m, which was decreased considerably to 1m with the release of the ‘Macro’ edition. This newest ‘Macro II’ edition maintains that 1m lowest concentrate variety, but features a customized structure, apparently to improve efficiency in the close-focus variety. We were satisfied with the Tamron 70-200mm F2.8’s macro ability, and so had great wants the Sigma; unfortunately these have not quite been observed. Instead the lens is affected with some major issues restrict its effectiveness for closeups.

Firstly, sharpness experiences considerably at near distances; reasonably you need to quit down to at least F5.6 to get any kind of details. Secondly, the lens is affected with important, and very undesirable ‘bokeh chromatic aberration’, which signifies that areas just ahead of, and behind the area of concentrate can be enclosed by powerful red and cyan fringing (and compared with horizontal CA, this can’t be easily set in software). Lastly, and most problematically, the lens is affected with a important concentrate move on avoiding down; we calculated this as roughly 1.5mm away from you per F-stop at 200mm and nearest concentrate, which signifies that if you concentrate seriously with the lens open up then quit down to F11, the goal of sharpest concentrate will move a complete 6mm away from you. This may not sound much, but in macro conditions (where the entire details of area can be just a few millimeters), it’s a lot.

See More Another Sigma Lens News Below :

Sigma 70-200mm F2.8 Specifications

Street price $800
Date introduced December 2007
Maximum format size 35mm full frame
Focal length 70-200mm
35mm equivalent focal length (APS-C) 105-300mm (1.5x)
112-320mm (1.6x)
Diagonal Angle of view (FF) 34º – 12º
Diagonal Angle of view (APS-C) 23º – 8º
Maximum aperture F2.8
Minimum aperture F22
Lens Construction • 18 elements/15 groups
• 2 ELD elements
• 2 SLD elements
Number of diaphragm blades 9
Minimum focus 1m
Maximum magnification 0.28x at 200mm
AF motor type • Ring-type ultrasonic
• Full-time manual focus
Focus method Internal
Zoom method Internal
Image stabilization • None
Filter thread • 77mm
• Does not rotate on focus
Supplied accessories • Front and rear caps
• Lens Hood
• Soft Case
Optional accessories Compatible with Sigma 1.4x and 2.0x EX APO teleconverters
Weight 1390g (49.0 oz)
Dimensions 86.6mm diameter x 184mm length
(3.4 x 7.2 in)
Lens Mount Canon, Nikon, Four Thirds, Pentax, Sigma, Sony