Although Tamron pioneered the release of the first 150-600mm lens, Sigma followed suit by releasing two versions of lenses with exactly the same focal length and aperture ranges. The smaller and lighter version, the Sigma 150-600mm f/5-6.3 DG OS HSM Contemporary (the one we are reviewing today), targets the same market as the Tamron 150-600mm f/5-6.3 Di VC USD, while the much larger and heavier “Sport” version is something unique to Sigma, with no other equivalent competing offers from any other manufacturer. Being able to reach 600mm without spending a lot of money has been a big dream of many wildlife photographers on a budget, because anything close to the 600mm range typically translates to a very large expense – as much as $12K for the latest generation 600mm f/4 lenses. While the current 150-600mm lenses cannot offer the maximum aperture of f/4, they give a huge focal range to work with, which can be particularly useful when photographing subjects at varying distances. As many 600mm prime lens owners know, shooting with long glass is not an easy task due to both weight and atmospheric haze concerns. Such lenses can be quite limiting when the action is close, such as when photographing bears in Alaska, or taking pictures on an African safari. For such occasions, many pros love the 200-400mm f/4 lenses, because they give that flexibility to shoot action at both close and long distances. However, the high cost and the weight concerns are still there, making such lenses prohibitive for budget-conscious enthusiasts and pros who prefer shooting hand-held. And that’s when the 150-600mm lenses come to the rescue, offering great performance in a lightweight and relatively low-budget package. At just over $1K and a total weight of 1930 grams (4.25 pounds), the Sigma 150-600mm f/5-6.3 DG OS HSM Contemporary is a very attractive lens for sports and wildlife photographers. In this review, we will be taking a closer look at this lens and compare it to the Tamron 150-600mm lens that we previously reviewed and loved.
Special thanks to John Lawson for his beautiful images!
1) Lens Overview
The Sigma 150-600mm f/5-6.3 Contemporary is a direct competitor of the Tamron 150-600mm f/5-6.3 VC, because both lenses span exactly the same focal length and aperture ranges and are priced very similarly. In addition, the two lenses practically measure and weigh the same, with very slight differences here and there. Optically, both are also constructed very similarly with a total of 20 lens elements and 9 diaphragm blades. And if we look at the lens construction, along with the manufacturer-provided MTF charts, we can see that those are surprisingly similar as well. With so many resemblances between the two lenses, one might wonder if the design of the lens was a joint effort or perhaps one manufacturer “borrowed” the idea from the other? While we don’t have answers to these questions, we do know what to expect from both lenses, so in many ways, you could consider these lenses to be practically the same!
Does it mean that the lenses are identical mechanically, electronically and optically? Not really – there are certainly some differences as you will see further down in this review. Our particular lens samples behaved a bit differently at varying focal lengths and the two also varied in consistency and reliability of both operation and autofocus performance. Not surprising when we are dealing with a lens design with compromises – after-all, 150-600mm is a huge range to work with, so in a way, these are similar in variation to lenses of the “superzoom” kind some of us are madly in love with (Ahem ahem Verm, the SuperZoom master!). So keep this in mind when shopping for such lenses – you might need to go through a few samples before you land with one that works really well at a particular focal length.
Still, I am not in any way implying that the 150-600mm lenses are no good. In fact, this particular design produces surprisingly great images overall, with sharpness that one often cannot match when using shorter focal length lenses and teleconverters. The newer Nikkor 80-400mm VR for example, just does not couple well with teleconverters and there is a dramatic drop of AF reliability at the long end with the 1.4x TC, which not only maxes out at 560mm, but also slows the setup down to f/8. Hence, the 150-600mm lenses would still be better for getting closer to action. And to make things even worse for the 80-400mm, the cost is a huge disadvantage factor as well – at $2,300, I would seriously struggle to recommend the 80-400mm to anyone looking for maximum reach at this point. Aside from the brand name, it seems like the Nikkor 80-400mmm f/4.5-5.6G VR really does not have much to offer anymore and sadly, such are the times for a lot of the Nikkor lens designs that are literally being stomped on by third party lens manufacturers like Sigma and Tamron. Sigma, in particular, is biting Nikon’s sales quite heavily with its Art-series lenses, which are not only superior optically, but also cost a lot less and allow for fine-tuning of autofocus operation without touching the AF-Fine tune camera parameters.
Speaking of fine-tuning, that’s where the Sigma 150-600mm f/5-6.3 OS DG HSM Contemporary has one big advantage over the Tamron counterpart. If you find any AF issues with the Sigma 150-600mm, you can easily attach the Sigma Dock and adjust AF parameters, while you have no such option with Tamron, which potentially means a return and exchange for a different copy, or a service trip to the manufacturer. I keep wondering why nobody else is even bothering with such a product – in this day and age, being able to tweak AF operation on lenses should not translate to either additional cost or waiting time!
2) Lens Specifications
- First hyper-telephoto zoom from the Contemporary line
- Lightweight and compact in construction for higher useability
- Water and oil repellent coating on front glass element makes maintenance of the lens surface easier
- Dust proof and splash proof mount
As pointed out earlier, the technical specifications are very similar to those of the Tamron 150-600mm VC:
- Mount Type: Nikon F-Bayonet (also available for Canon and Sigma mounts)
- Focal Length Range: 150-600mm
- Maximum Aperture: f/5-6.3
- Minimum Aperture: f/22
- Angle of View (FX-format): 16°4’ – 4°1’
- Lens (Elements): 20
- Lens (Groups): 14
- Compatible Format(s): FX, DX
- Diaphragm Blades: 9
- SLD Glass (Elements): 3
- FLD Glass (Elements): 2
- Autofocus: Yes
- HSM (Hyper Sonic Motor): Yes
- Minimum Focus Distance: 110.2 in (2.8m)
- Focus Mode: AF/MF
- Filter Size: 95mm
- Accepts Filter Type: Screw-on
- Length: 10.2 in (260.1mm)
- Weight (Approx.): 68 oz (1,930 g)
Detailed specifications for the lens, along with MTF charts and other useful data can be found in our lens database.
3) Lens Handling and Build Quality
When looking at both Sigma 150-600mm and Tamron 150-600mm, the build quality of the two lenses is pretty similar and I cannot say if one is drastically better than the other overall. However, there is one area where the Tamron stands out for me personally and that’s the focus ring. The Sigma 150-600mm has a very flimsy focus ring that is both very thin and choppy when focusing manually. It feels like Sigma just did not care about giving the ability to manually focus with this ring, which I understand, since the lens is designed to be primarily used with autofocus. However, Sigma should understand that photographers often resort to manual focus override, particularly when a subject is still. As much as we would love it to be, AF is not always spot on and I sometimes find myself tweaking focus via Live View to get the best sharpness. The choppy ring not only jerks when you move it, but it also jumps quite a bit, forcing one to go back and forth to try to get the most accurate focus. This gave me a lot of headache when testing the lens in a lab environment – I had to go back and forth many times, which was quite frustrating. So if you want to fine tune focus while keeping the lens on a still subject, expect to go through the same frustration. In comparison, the focus ring on the Tamron is much bigger and feels a lot more smoother, which does make a difference in the field.
Shooting with both Sigma 150-600mm Sports and Contemporary definitely put the latter at a pretty big disadvantage, as there were a number of things about the Sports version that were drastically better, which includes the much bigger and smoother focus ring. The Contemporary just feels a bit cheap and plasticky when compared to the Sports version, which is a given, if you factor in the heft, size and cost of the 150-600mm Sports. However, there are some things where both John Lawson and I wondered that could have been taken to a better level with the Contemporary, especially when compared to the Tamron. Unfortunately, we get the cheap chattery rotating collar on this lens that reminds me of the 120-300 Sports, and reminds me of how nice the 150-600 Sports’ collar is. And removing the collar requires removing the camera body which I really do not like. Why not a hinged collar? Zooming is a little less easy than with the Sports too. The zoom ring is fine but trying to use the push-pull method (which we will talk about in the upcoming Sigma 150-600mm Sport review) for quick zooming is more difficult for two reasons. There is no convenient groove in which to place your fingers and while pushing to zoom toward 600mm is easy because you are pushing against the flared lens barrel, pulling to zoom toward 150mm requires a fairly tight grip and I found my hand slipping some of the time. With gloves on it would be more difficult still. In addition, the friction is not consistent and the mechanism tightens up noticeably at the long end between 500mm and 600mm. That makes smooth zooming a bit challenging.
Another area where the Sigma 150-600mm can potentially frustrating is its lack of weather sealing. While it is nice for Sigma to include a rubber gasket at the mount, the lens itself is not weather sealed. Although I did not have the chance to use the Sigma 150-600mm for a long time in dusty environments, I would not be surprised to see the same “dust magnet” concerns as on the Tamron 150-600mm. That’s one area John Sherman and many others have not been happy with on the Tamron, which seems to lack any kind of protection against dust. It is true that dust does not impact image quality all that much, but too much of it would surely do its job at reducing contrast and potentially impacting the bokeh quality when stuff sits near the rear element of the lens.
When it comes to handling, the Sigma 150-600mm Contemporary does very well when mounted on both lightweight and heavier DSLR cameras. Thanks to the mostly plastic construction, the weight of the lens at 1930 grams is perfect for constant hand-holding. In fact, this lens was designed mostly for shooting hand-held and that’s certainly where it excels. Coupled with the very effective image stabilization system, one could shoot with the Sigma 150-600mm for extended periods of time without tiring hands significantly, as with the much beefier super telephotos. When hands get tired, one could lower the hands to let them rest a bit, or the better way would be to attach something like the Black Rapid sling to the tripod collar on the lens and let the setup rest on the shoulder. As a word of caution, never let lenses this heavy just dangle off the camera mount, as applying too much pressure might tilt or damage the mount and potentially even break it. There is a reason why such lenses are shipped with a tripod collar!
Hence, while the experience of shooting with the Contemporary doesn’t measure up to the Sports, the relative compactness and light weight means this is a lens that I think will encourage a lot of people to ditch the tripod and just carry it around mounted on a lightweight camera body. How about this lens with a D5500 at 2350g (5.2lbs) and equivalent FoV of 225-900mm (a birders dream). Not too shabby!
Overall, aside from the focusing ring issue pointed out above, the build quality of the Sigma 150-600mm feels on par with the Tamron 150-600mm, and way below the quality of the Sigma 150-600mm Sport.
The controls on the Sigma 150-600mm Contemporary are a bit different compared to those of the Tamron 150-600mm VC, putting the Sigma 150-600mm at a definite advantage. There are a total of four switches instead of three – one for switching between AF, MO (manual override) and MF, one for limiting focus (full range, 10m to infinity and 2.6-10m), one for image stabilization (regular and panning modes) and one for two Custom modes (this one does not exist on the Tamron 150-600mm). The nice thing about the two Custom switches is that you can actually program the behavior of these switches via the Sigma dock, which is really nice and something we never see even on high-end Nikkor lenses. For example, you could fine tune the AF behavior of the lens to say prioritize on focus speed rather than accuracy or adjust the parameters of the image stabilization system and save those settings in one of the Custom switches. Turning off the switch obviously defaults the lens to standard behavior, but if you wanted to give your custom settings a go, all you have to do is switch to a custom C1 or C2 where you saved your settings and the lens changes its behavior, which is really neat.
5) Autofocus Performance and Accuracy
Thanks to the high-end Hyper Sonic Motor (HSM) utilized in the Sigma 150-600mm C, autofocus speed is quite impressive, particularly at 600mm. Now keep in mind that at the long end of the zoom range, you are limited to f/6.3 maximum aperture, which puts a heavy burden on the autofocus system of the camera. If you shoot with an older DSLR that is limited to f/5.6 for reliable AF operation, you will surely struggle with AF speed and accuracy and the lens will hunt a lot, especially in dimmer environments. However, if you shoot with the newer generation DSLRs like the Nikon D750 / D800 / D810 or lower-end DX cameras like the D7100 / D7200, where the AF system can handle much smaller apertures up to f/8, you will be pleasantly surprised by how fast the AF will respond at f/6.3.
When it comes to autofocus accuracy, the Sigma 150-600mm can be a hit and miss depending on the AF system and subject distance. Once again, expect the lens to yield inconsistent results when shooting with older camera bodies (which is the same concern on the Tamron 150-600mm VC by the way), so if you have an older camera body limited to f/5.6 and you are looking at this lens, I would strongly recommend against such a combination. As for subject distance, I found out during my lab testing that at ranges close to minimum focus distance, the Sigma 150-600mm was quite inconsistent in AF accuracy, often yielding results that were visibly out of focus, even in the viewfinder. For those situations, firing up Live View and manually adjusting the focus would take care of it, but given how flimsy the focus ring is, it was far from being a pleasant experience. I am not exactly sure why AF accuracy is this bad at close distances, but I suspect it might have to do with the overall lens design, which is obviously not without such compromises. So if your subject is very close and your AF seems completely out of whack, I would suggest either moving further away from the subject, or utilizing Live View for much more precise focusing, provided that your subject is still. The good news is that I did not experience such issues at longer distances, which is the range most people will be shooting in anyway, so it is not a deal breaker by any means in my opinion.
Now one area that puts the Sigma 150-600mm Contemporary ahead of the Tamron 150-600mm VC is AF reliability. While shooting with the Sigma 150-600mm Contemporary, I did not experience any AF freezing or lock-up issues. In contrast, many samples of the Tamron 150-600mm VC have been plagued by AF reliability issues. John Sherman had to send his copy to Tamron a number of times to get it serviced and I believe Tamron finally address the AF reliability issues after several trips to service centers and a possible firmware upgrade. Other readers sent me similar feedback via email, asking if that’s something commonly reported by other Tamron users. I am not sure if Tamron has fully addressed the AF reliability issues on the newer batches of the 150-600mm VC, but it seems like it is a fairly common issue, which is unfortunate. Perhaps Sigma was able to work out all the AF bugs, but only time will tell – if you own a Sigma 150-600mm and you have seen similar lock-ups, please report these problems in the comments section of this review.
Overall, AF speed and accuracy are pretty good for this class of a lens. I did not see any “AF chatter” issues I experienced on the 80-400mm and some other lenses, and focus seemed to stay locked once the subject was in focus.
6) Low-light Performance
As I have already pointed out earlier, being limited to f/6.3 is already putting a big burden on the AF system of the camera even in daylight. What happens when one tries to use the lens in less than ideal lighting scenarios? Just like the Tamron 150-600mm VC, the lens does very well in good to moderate light levels and surely suffers in low light. While my experience shooting with the Sigma 150-600mm in low light is a bit limited, I was not particularly happy with the AF performance in very dim environments, especially at longer focal lengths. And that’s expected! First, shooting at 600mm is tough as is in terms of camera shake – as the shutter speed drops, chances of getting images that are completely blur-free are very low. Image stabilization obviously helps, but only to a certain extent: after a couple of stops, it is practically useless. Second, once the sun is gone, the small aperture will surely confuse any AF system, since the amount of light passing through the lens into the camera’s phase detection system is very limited. That’s where having the latest generation Nikon DSLRs with up to -3 EV detection range is going to make a difference. For example, I noticed that my Nikon D750 gave me visibly better results when shooting at dusk when compared to my Nikon D810.
7) Lens Sharpness and Contrast
When it comes to lens sharpness, the Sigma 150-600mm Contemporary has similar optical properties when compared to the Tamron 150-600mm. Both lenses start out pretty strong at 150mm and the performance diminishes towards 600mm. At 600mm, with the lenses extended to their maximum size, both lenses suffer the most. Let’s take a look at our lab measurements using the Imatest software at various focal lengths.
Here is the lens at its shortest focal length:
The lens starts out pretty strong optically, yielding excellent center sharpness and fairly good mid-frame performance. The corners are a bit weak, particularly at close distances, but that’s not a huge concern, as the lens would rarely be used to photograph flat subjects.
Let’s take a look at what happens when the lens is zoomed in towards 300mm:
It is pretty clear that the lens performance goes down towards the longer range – as you can see, there is a pretty noticeable drop in overall sharpness. But the big question is, how do things look at the longest range where the lens will be used the most? Here is the picture at 500mm:
Whoa! That’s a pretty drastic drop in sharpness. When I initially saw the numbers, I went back and re-tested the lens several times at different brackets and it did not make a lot of difference. Sadly, with my particular lens sample, I just could not get good sharpness no matter what I tried.
Taking the 500mm performance into consideration, I am sure we can predict what happens at the longest end of the zoom range:
As expected, 600mm sees a further drop in resolving power, giving below average results. Stopping down to the f/8 and smaller certainly helps, but sadly, not all that much.
Again, this is something that is quite normal to see on such lenses. I am sure my copy was far from being optically stellar and that’s the nature of dealing with such lenses – whether you like it or not, there is going to be a pretty big copy to copy variation on lower-end super telephotos that cover such a large range of focal lengths.
The biggest question is, how does it fare against its direct competitor, the Tamron 150-600mm VC and its bigger brother, the Sigma 150-600mm Sport? You will find the answers in the lens comparisons section of this review.
8) Image Stabilization
Shooting with such lenses as the Sigma 150-600mm hand-held requires a solid image stabilization system, because you are dealing with a relatively slow aperture and long focal length, which puts a heavy burden on the shutter speed and ISO performance of the camera. To be able to keep up with fast shutter speeds, you will find yourself pushing your camera’s ISO quite a bit if you don’t take advantage of image stabilization, which is why it is so important.
In my tests, I found the image stabilization of the Sigma 150-600mm to be very effective. While I did not get a lot of keepers at 3-4 stops of stabilization, I got a fairly good number of keepers between two to three stops. As usual, letting the lens stabilize and using a solid hand-holding technique were important in reducing the number of blurry images due to camera shake. Most of the images that I shot at 1/100th of a second at 600mm turned out to be sharp and I had fairly good success pushing the shutter speed down as far as 1/60th of a second, which is pretty impressive.
As the review images suggest, the Sigma 150-600mm C handles out of focus areas quite well when the subject is close and there is a good isolation between the subject and the background. But that’s not the same as the rendering quality of out of focus highlights, which is what really defines bokeh. If you have bright sources of light and you want them to appear smooth without defined shapes, the 150-600mm is not going to be the lens of choice. Similar to many other lenses in the same class, you will see a number of distinct rings around the highlights, similar to the effect of “onion bokeh” that is present on lenses with aspherical elements. The small maximum aperture of f/6.3 is also going to be the limiting factor for how much isolation and blur you will see in images, so if the background is close to your subject, it will appear a bit distracting.
Vignetting is generally not an issue on super telephoto lenses and the Sigma 150-600mm handles it quite well, pushing at most close to -2 EV in the extreme corners at 150mm when focused at infinity:
Vignetting stays at around the 1.6 EV mark at infinity compared to close focus and as you can see from the chart, it does not get reduced by much as you zoom in towards 600mm.
11) Ghosting and Flare
Ghosting and flare is something to watch out for, since super telephoto lenses generally cannot handle it well due to long focal lengths. There is a reason why the Sigma 150-600mm Contemporary comes with a long hood – keep it mounted on the front of the lens at all times and avoid shooting against bright sources of light.
Distortion is generally a non-issue with most telephoto lenses as well and as we can see from the graph below, the Sigma 150-600mm Contemporary only exhibits a slight amount of pincushion distortion:
13) Chromatic Aberration
What about chromatic aberration levels? Let’s take a look:
As you can see, chromatic aberration levels are pretty average, staying at around the 1.5 pixel mark at 150mm and decreasing to lower levels with the increase of focal length.
14) Sigma 150-600mm f/5-6.3 Contemporary vs Tamron 150-600mm f/5-6.3 VC
How does the Sigma 150-600mm f/5-6.3 Contemporary optically compare to the Tamron 150-600mm f/5-6.3 VC? Let’s take a look at the different focal lengths from 150mm to 600mm:
We can see that the Tamron 150-600mm VC does not particularly like mid-frame and corners at close distances – it does visibly worse in comparison to the Sigma. The Tamron also suffers more wide open, although its performance at f/8 is very solid.
Here are both lenses at 300mm:
As we zoom in towards 300mm, the situation changes a bit for the Tamron, which shows better sharpness wide open. Stopped down to f/8, both lenses are similar, but you can notice how much worse the Tamron looks in mid-frame and the corners.
Let’s see what happens at 500mm:
The Sigma 150-600mm C did not do well wide open when compared to the Tamron, but once stopped down, the two lenses perform very similarly in the center. Interestingly, the Sigma does worse in mid-frame and the corners here, so the situation is pretty much flipped.
And lastly here are the two lenses at 600mm:
Once again, the Sigma did not do all that well wide open and even stopped down to f/8, the Tamron 150-600mm VC seems like a better overall performer. The Sigma 150-600mm tries to catch up at f/11, but that’s most likely not the aperture you would be using at 600mm, which makes the Tamron 150-600mm VC a better lens overall, at least judging by the two samples of lenses I used for testing.
In summary, it looks like both lenses have their strengths and weaknesses at different focal lengths. The Sigma starts out pretty strong, with even overall performance, but gets much worse towards the long end of the range, while the Tamron starts out weaker at short focal lengths and tends to keep the performance well-balanced towards the long range.
15) Sigma 150-600mm f/5-6.3 Contemporary vs Nikon 80-400mm f/4.5-5.6G VR + 1.4x TC
What about comparing the Sigma to the Nikkor 80-400mm f/4.5-5.6G VR with and without a teleconverter? First, let’s take a look at 300mm and see how the sharpness compares between these lenses without any teleconverters involved:
From here we can see that both lenses are equivalent in center frame performance at pretty much every aperture. However, the Nikkor 80-400mm VR is visibly worse in the corners (not that it matters all that much). The Sigma edges out the Nikkor in the mid-frame as well.
Next, let’s see what happens when a 1.4x TC is attached to the 80-400mm, giving us a 560mm combination:
Now this is an interesting situation, because the Nikkor 80-400mm clearly shows better performance at f/8, even with a TC attached. If we compare the above numbers to the Tamron 150-600mm, we will see that the Tamron is the sharpness leader at the longest end, surpassing the Nikkor. It is important to note that there are two “gotchas” here. First, the Nikkor is obviously a slower combination at f/8 vs f/6.3 and second, the AF performance with the TC14E II or TC14E III is not reliable, particularly when shooting in low-light conditions.
Looking at the three lenses, my pick would be with the Tamron 150-600mm VC, which seems to be optically superior at the long end compared to the other two lenses. Its autofocus is also much more reliable when shooting in less than ideal lighting conditions when compared to the Nikkor.
16) Sigma 150-600mm f/5-6.3 Contemporary vs Sigma 150-600mm f/5-6.3 Sport
Let’s take a look at how the Sigma 150-600mm Contemporary compares to its bigger brother, the 150-600mm Sport. Since Sigma made two versions of the same lens, one might wonder how much difference we can expect from a much heavier lens that costs twice as much. Let’s take a look at the two lenses at 150mm:
Starting out, both lenses seem to be somewhat on-par in the center. The Sigma 150-600mm Contemporary seems sharper in the corners and in the mid-frame.
Here are both lenses at 300mm:
Once again, the Sigma 150-600mm Contemporary seems to be a tad better at closer distances.
Now let’s push the zoom ring towards 500mm:
Now this is where things completely change in favor of the Sport – look at how drastically different the performance of the two lenses is at 500mm. The Sigma 150-600mm Sport only seems to improve towards the longer focal lengths!
And finally, the two lenses compared at 600mm:
And here we can clearly see why the Sports version is a completely different beast. The Contemporary cannot even remotely keep up with the superb performance of the Sport.
Obviously, this is no apples to apples comparison, as the two lenses are completely different weight, size and price-wise. But if I were to pick between the two, I would surely go for the Sport. Yes, it is that much better!
The new 150-600mm lenses from Tamron and Sigma have helped change the landscape for budget-friendly super telephoto lenses. If in the past we were pretty much stuck with the native 400mm focal length, third party manufacturers pushed that envelope by another 200mm, making 600mm – something that was only reserved for those with deep pockets and professionals, finally attainable. True, such lenses cannot be compared to 600mm f/4 prime lenses optically, but if you factor in the cost, weight and size factors, the 150-600mm lenses represent phenomenal value.
Although Sigma’s 150-600mm design looks very similar to Tamron’s 150-600mm VC, both have their strengths and weaknesses in terms of features and optics. Sigma’s strength is in the ability to adjust focus settings on the lens and having strong performance at shorter focal lengths, while the Tamron 150-600mm has slightly better ergonomics coupled with impressive performance at the long end of the zoom range. When it comes to weaknesses, while I found Sigma to do worse optically above 500mm, it would be hard to equate that to Tamron’s AF reliability issues that we have seen so far. So taking everything into consideration, it is hard to pick a winner here. If you are looking for a lightweight, versatile lens that can give you amazing reach, especially on a high-resolution DX camera, you would not go wrong with either lens in my opinion.
18) Where to buy and availability
19) More image samples
Article Copyright Nasim Mansurov and John Lawson. Images Copyright John Lawson, all rights reserved. No use, reproduction or duplication including electronic is allowed without written consent.
Sigma 150-600mm f/5-6.3 DG OS HSM Contemporary
- Optical Performance
- Bokeh Quality
- Build Quality
- Focus Speed and Accuracy
- Image Stabilization
- Size and Weight
Photography Life Overall Rating