Sigma 18-200mm f/3.5 HSM Specifications Review

The Sigma 18-200mm f/3.5-6.3 DC OS HSM is the newest in their lengthy type of super zoom, which extends returning to the beginning 90’s and a sequence of 28-200mm (and later 28-300mm) contact contacts for Negatives SLRs. Actually Sigma was the first organization to generate a superzoom for the growing price range DSLR industry, with its 18-125mm D3.5-5.6 DC of Aug 2004, followed soon after by an 18-200mm F3.5-6.3 DC in Feb 2005. However the big issue with lengthy, slowly zoom is picture cloud due to trembling camera, and in Goal 2007 Sigma properly declared this new edition of the 18-200mm with incorporating ‘Optical Stabilization’ (OS) technological innovation for Cannon, Nikon and its own SD variety of DSLRs (Sony and Pentax customers, of course, advantage from sensor shift picture stabilizing of all lenses). In somewhat interested style, the Nikon install edition also activities an ultrasonic-type ‘HyperSonic Motor’ (giving increase to the HSM tag,) while the Canon and Sigma install designs use a traditional micro motor for concentrating.

Sigma 18-200mm
Sigma 18-200mm

Like all super zoom the Sigma 18-200mm OS comes with a complicated visual style, in this situation 18 components in 13 categories such as one Super Low Distribution (SLD) cup factor, and no less than three aspherical components to fight aberrations. A lowest concentrate range of 0.45m through the whole variety contributes to the lens’s all-round flexibility. The visual stabilizing program finds when you is panning and instantly changes to working in one axis only, useful for capturing shifting topics such as activities.

Key Features

  • 27-300mm comparative central duration range; F3.5-6.3 highest possible aperture
  • Optical Stabilization (OS) system
  • Available for Cannon, Nikon and Sigma installs (APS-C/DX structure DSLRs only)
  • Hypersonic Engine (HSM) concentrating on Nikon install only

Sigma 18-200mm Body And Design

The 18-200mm OS is a common upper-mid-range Sigma style, which means a solid-feeling lens with a nice-looking matte-black complete and sleek function of manages. In common with other contacts it in its category, the install is steel and the gun barrel is made with light and portable but good quality plastic materials. Like other superzooms the Sigma comes with a ‘double-trombone’ style for expansion of the top part lens team on cruising, but uncommonly it also uses a identical procedure for shifting the back team internal. The lens is quite identical in size to both the Canon and Nikon 18-200mm zoom and Tamron 18-270mm F3.5-6.3 VC (although the latter of course expands longer, due to its greater telephoto range).

Sigma 18-200mm Body And Design
Sigma 18-200mm Body And Design

Three changes are placed down either part of the gun barrel in simple reach of the right thumbs. At the top is a zoom capability secure which prevents the lens from increasing under its own weight; this is a little bit better-placed than that on the Tamron 18-270mm, but like the other contacts in this category only performs at 18mm. On our review example we found zoom capability find their way was simply not a problem, but it’s worth taking into consideration that contacts often release up in their zoom capability activity with age, so once the lens is ‘run in’ this may well be a geniunely useful feature. Below the zoom capability secure are the manages for the main concentrate and picture stabilisation mechanisms; these two changes are large and simple to function, especially in contrast to those on the Cannon and Nikon 18-200mm contacts.

Lens body elements

  • The lens comes in editions for Canon Nikon and Sigma DSLRs; our example was in the Nikon F install. This view reveals the somewhat uncommon ‘double trombone’ procedure which is used for shifting the back factor on cruising.
  • The narrow line is 72mm. It does not move on autofocusing, which should please narrow users.
  • The bayonet-mount bonnet is provided as standard, and clicks of the mouse favorably into place on the top part of the lens. It’s made from dense plastic, boasting ribbed mouldings on the inside to reduce insights of wander light into the lens. A white dot on the outside of the bonnet helps positioning for increasing, and the bonnet turns around nicely for storage.
  • The zoom capability band has a 20mm extensive ribbed rubberized hold, and moves 80 levels anti-clockwise from extensive to telephoto (the same way as Cannon contacts, but reverse to the majority of Nikon’s). The activity is sleek and even, in noticeable evaluation to Tamron’s 18-270mm VC. The front part side factor expands 62mm on cruising and has just a little horizontal play when completely prolonged.
  • The concentrate band is the largest in this category at 17mm, but moves just 45 levels clockwise from infinity to 0.45m, again related Canon contacts and reverse to Nikon. Its activity is nice and sleek, however the restricted travel makes accurate guide concentrate rather difficult. A basic variety range is noticeable in feet and metres. The concentrate band moves a little bit past the infinity place, and moves during auto-focus.
  • An range of changes are placed independently of the lens gun barrel within easyreach of the left thumbs. At the top we have the zoom capability secure (which performs at 18mm only), below that the auto/manual concentrate method selector, with the picture stabilisation on-off change at the bottom.
  • A a little bit interested variety on the external sleeve of the ‘double trombone’ zoom capability procedure reveals the picture zoom when the lens is set to 0.45m (i.e. the minimum concentrate distance). The numbers match to each of the central measures noticeable on the zoom capability band except for 18mm (at which place the gun barrel is completely rolled away, and this sleeve is not visible).

Sigma 18-200mm Images Quality

FX (Full Frame) Coverage

Both the Nikon and Canon install editions of this lens will install on full-frame DSLR on Nikon cameras (D3, D3X, D700) DX plants method will be instantly chosen (and you will therefore capture at decreased resolution). The lens’s picture team doesn’t protect the Negatives complete structure structure effectively at any central duration, providing serious vignetting; this impact is very obvious and well-defined at 18mm, but gets improving dissipate at more time central measures. At 200mm the picture team almost includes complete structure, but the excessive sides are still completely black; this might be exciting for particular innovative reasons, but not really useful for regular daily capturing.

Flare

The 18-200mm is quite immune to surface, especially towards the extensive end of the zoom capability. Place the sun towards the advantage or area of the structure, and you’ll hardly ever see any obvious surface styles or loss of comparison. However it can start to experience in highly backlit circumstances towards the lengthy end of the zoom capability – in such cases comparison can fall considerably due to an overall errors of veiling surface. In conclusion the Sigma is not too bad in connection with this, but perhaps not quite nearly as excellent as other contacts in its category.

18mm F22
18mm F22 Photo By Azis Photography

Bokeh Quality

One truly suitable, but difficult to evaluate part of a lens’s efficiency is the capability to provide efficiently blurry out-of-focus areas when trying to separate a topic from the qualifications, usually when using a lengthy central duration and large aperture. This lens can allow you to obtain quite considerably blurry qualifications scenes, especially at more time central measures and extensive apertures.

Sigma 18-200mm Bokeh Quality
Sigma 18-200mm Bokeh Quality

In common with superzoom custom, bokeh is often reasonably fairly neutral, neither including to nor taking away from the picture as a whole. For closeup photos, qualifications scenes are quite efficiently blurry and completely attractive; however under certain situations bokeh can begin to look a bit more annoying with serious, bright-edged jewelry to point functions. But overall the Sigma is probably neither better not more intense than any other identical lens.

Chromatic aberration

Chromatic aberration is especially low with this lens, certainly for a superzoom. It’s only likely to have much of a damaging influence on real-world pictures at wideangle, and the powerful red-cyan fringing in the example below is close to the worst-case situation (dark divisions against a shiny sky is as near to a genuine black/white design as you’ll see). At the telephoto end there’s a little green/magenta fringing, but rather less than we’ve seen from other superzooms. Of course if you capture JPEGs with Nikon techniques such as the D300 and D90 which function automated CA settlement, the results of horizontal CA will be considerably decreased anyway.

Softness at 80mm

One problem difficult to disregard from our studio room assessments is the numerous stop by sharpness across almost the whole structure experienced at 80mm. In order to show how this seems to be in real-life pictures, we’ve tailored the traditional ‘brick wall’ analyze to substitute development components, and taken the same picture start up (F5.3) and ceased down to F8. The 100% plants below proven that even the middle is smooth and displays low comparison extensive open; and while it enhances considerably on avoiding down to F8, the lens still battles to provide much in the way of details in the sides of the structure.

Optical Stabilization

The 18-200mm functions Sigma’s own ‘Optical Stabilization’ system, which first came out on the 80-400mm F4.5-5.6 EX OS in 2002. Uncommonly the company creates no particular statements about the abilities of its technological innovation (in conditions of how much lower the shutter rate can be decreased before the results of trembling digicam become apparent), but with the prefers of Canon, Nikon, Tamron and Panasonic accomplishing three to four prevents with the exact same techniques, we have a fair standard for can be expected. The procedure is very silent when functional, but creates recognizable simply clicking sounds when it triggers and deactivates, presumably the result of the OS team planning and out of the ‘at rest’ place.

We’ve usually found the stabilizing models in SLR contacts to be fairly efficient in real-world use, and to evaluate this, we exposed the 18-200mm to our studio room picture stabilizing analyze, using the wideangle and telephoto configurations plus one mid-range central duration (50mm). With its efficient central duration variety of 27-300mm, we’d normally anticipate to be able to get great results portable at 1/50 sec at wideangle, and 1/400 sec at telephoto without picture stabilizing. The topic range for these assessments was roughly 2.5m for 18mm and 50mm central measures, and 8m for 200mm; quality digicam was the Nikon D300.

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Sigma 18-200mm Specifications

Street price • $400 (US)
• £280 (UK)
Date introduced March 2007
Maximum format size APS-C/DX
Focal length 18-200mm
35mm equivalent focal length
• 27-300mm (1.5x DX)
• 29-320mm (1.6x APS-C)
• 31-340mm (1.7x Foveon APS-C)
Diagonal Angle of view (APS-C) 74º – 8º
Maximum aperture F3.5-6.3
Minimum aperture F22-40
Lens Construction • 18 elements / 13 groups
• 1 SLD glass element
• 3 aspherical elements
Number of diaphragm blades 7, rounded
Minimum focus 0.45m
Maximum magnification 0.26x
AF motor type • Micro-type Hypersonic Motor (Nikon mount)
• DC Micro Motor (Canon & Sigma mounts)
Focus method Internal
Image stabilization • Yes
• Automatic panning detection
Filter thread • 72mm
• Does not rotate on focus
Supplied accessories* • Front and rear caps
• Petal-type Hood
Weight 600 g (21.2 oz)
Dimensions 79 mm diameter x 98 mm length
(3.1 x 3.9 in)
Lens Mount Canon, Nikon, Sigma