Sigma 100-400mm f/5-6.3 DG OS HSM | C

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Su­per-tele­photo lenses tend to weigh heav­ily on your pocket and your shoul­der, but Sigma is at least try­ing to keep you away from the os­teopath with its lat­est su­per-tele, which tips the scales at a rel­a­tively mod­est 1.16kg. It’s also fairly com­pact, mea­sur­ing just 182.3mm by 86.4mm.

Thank­fully the diet doesn’t seem to have com­pro­mised op­ti­cal qual­ity, as the 21-el­e­ment de­sign in­cor­po­rates four SLD el­e­ments to edge out fring­ing. Like Sigma’s new 24-70mm, this lens also packs an all-new Op­ti­cal Sta­bi­lizer that boasts a trick gy­ro­scopic sen­sor that can de­tect shake in any di­rec­tion – hor­i­zon­tal, ver­ti­cal, or di­ag­o­nal – to ef­fec­tively coun­ter­act shake whether you’re shoot­ing in both land­scape or por­trait ori­en­ta­tion.

Sigma’s elec­tro­mag­netic di­aphragm makes another ap­pear­ance here, with its nine-bladed rounded con­struc­tion de­signed to pro­duce creamy back­ground bokeh. This fea­ture is es­pe­cially im­por­tant given the lens can – at a push – be used for macro pho­tog­ra­phy, with a min­i­mum fo­cus­ing dis­tance of 160cm and a max­i­mum mag­ni­fi­ca­tion ra­tio of 1:3.8.

And not con­tent with re­leas­ing this lens and its new 24-70mm f/2.8 (see pre­vi­ous page), Sigma has also launched a pair of new primes: there’s the 14mm f/1.8 DG HSM | Art that’s be­ing touted as the world’s first and only f/1.8 ul­tra-wide lens; and there’s the 135mm f/1.8 DG HSM | Art, which boasts sim­i­lar specs and adds aweath­ersealed mount for ex­tra ver­sa­til­ity. As with the other lenses in Sigma’s Art range, both prom­ise pre­mium build qual­ity and per­for­mance.

First im­pres­sions_

It’s around 25% lighter and 10% smaller than Nikon’s 80-400mm f/4.5-5.6 AF-S lens, but hope­fully this light­ened lens will punch above its weight.

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