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Hands-on with the Sigma 150-600mm F5-6.3 DG DN OS Sport

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Hands-on with the Sigma 150-600mm F5-6.3 DG DN OS Sport

Hands-on with the Sigma 150-600mm F5-6.3 DG DN OS Sport

Ladies and gentlemen, feast your eyes upon Sigma’s latest lens release – the 150-600mm F5-6.3 DG DN OS Sport. This lens is an all-new, designed-for-mirrorless update to Sigma’s ‘Contemporary’ offering for DSLRs, and judging from our initial shooting, it turns in impressive performance (check out our sample gallery to see for yourself). But presumably you’ve arrived at this article because you’re interested in seeing how this beastly superzoom handles. Well, let’s take a tour of the 150-600mm and find out what’s what.

Size and balance

First of all, you’ll notice that this is a pretty sizable lens, though the deep grip of the Panasonic Lumix S1R it’s mounted to here will help you with stability if you’re out shooting hand-held. The lens isn’t terribly heavy for what it is (and at 2.1kg, comes in at 760g, or 1.67 lbs, lighter than the DSLR version), but you may find yourself wanting a monopod or a tripod for extended shooting sessions.

Look at that zoom

Here you can see the 150-600mm in its fully zoomed-in state. Filling that barrel are 25 elements in 15 groups, with four ‘FLD’ elements (Sigma’s highest-level low dispersion glass available, similar to fluorite) and two SLD (special low dispersion) elements. In our testing, we found the lens is easily a match for the 47MP sensor in the Lumix S1R shown here, as well as the 61MP sensor in the Sigma fp L. Bokeh is generally pretty smooth, though it can look a bit busy in transition zones and at image peripheries (due to mechanical vignetting).

As you zoom in, the balance of the lens necessarily shifts forwards, but if you’re supporting the lens with your hand on the zoom ring, it doesn’t feel too unwieldy. It’s worth noting that despite the extending zoom design, the lens comes with seals throughout to combat dust and moisture incursion.

Switches galore

On the side of the 150-600, you’ll find an array of switches. First up is a standard AF/MF focus switch – and the lens uses a stepping motor for autofocus, which offers relatively responsive focus speeds, though it’s not as swift as the linear motors found in some of its peers.

There’s also a two-setting focus limiter to keep the lens from hunting unnecessarily depending on your shooting. Limiting the lens’ minimum focus distance to 10m speeds up focus speeds dramatically for more distant subjects. It’s worth mentioning that the lens can focus close enough to offer 1:2.9 magnification at 150mm, so it’s a great fit for close-up work.

Finally, there’s a two-setting switch for built-in optical stabilization (to accommodate both standard and panning shots), and a custom switch for custom stabilization modes that L-mount users can specify using the UD-11 USB dock.

Switches, there’s more

Further down the barrel you’ll find another switch, with ‘L’, ‘T’, and ‘S’ settings. This customizes the behavior of the zoom mechanism. ‘L’ stands for Lock, and allows you to lock the lens at its shortest 150mm position for stowage and travel. ‘T’ stands for Tight, which keeps the zoom from creeping in or out while handling the camera, yet still allows for the photographer to turn the zoom ring to adjust framing. ‘S’ stands for Smooth, and allows the zoom to move freely – so freely, in fact, that you could operate the zoom in a push-pull fashion by grabbing the rubberized ring at the front of the lens if you so desire.

Tripod mounting and custom buttons

The Sigma 150-600mm comes with a (very sturdy) detachable tripod foot with an Arca-Swiss compatible dovetail, and it also comes with pronounced click-stops at 90-degree intervals as you rotate it.

You can also see, above the zoom lock switch, a customizable button, which is one of three total around the barrel of the lens. Their default behavior is focus lock, but other functions may be assigned to them from within the camera’s menus.

Mount and teleconverters

Surrounding the mount of the Sigma 150-600mm is a rubber gasket to help with weather-sealing, and you’ll also notice a fair bit of space in the barrel between the mount and the rear-most element. That space allows the 150-600mm to be compatible with Sigma’s TC-1411 and TC-2011 teleconverters, which offer 1.4x and 2.0x conversions, respectively.

Front element and diaphragm

Around the other side of the lens, we find the front element which has a water and oil repellant fluorine coating to resist moisture, fingerprints and oils. The filter thread measures a fairly large 95mm.

If you were to peer further down through the front element, you’d see a rounded aperture diaphragm with nine blades, which gives round out-of-focus highlights even when stopped down to F8, though you’ll see some cats-eye effect.

Hands-on with the Sigma 150-600mm F5-6.3 DG DN Sport

Included in the box is an LH-1034-01 lens hood, which is reversible and secured by a thumb screw. The end is rubberized and It can also be reversed and re-mounted for storage.

And that does it for our tour of Sigma’s latest ultra-telephoto zoom, the 150-600mm F5-6.3 DG DN Sport. While there are a few other options for it to compete against in Sony E-mount, this lens is sure to be a welcome addition to sports and wildlife photographers using an L-mount system. Be sure to let us know what you make of it in the comments.

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Most significant cameras and lenses of the last 25 years, according to the manufacturers

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Most significant cameras and lenses of the last 25 years, according to the manufacturers


As part of our twenty-fifth anniversary, we asked manufacturers to reflect on the most significant products of the past quarter century.

As you might imagine, all the senior executives picked one of their own products. But some patterns also emerged. Some simply named their current flagship as the pinnacle of the company’s R&D history so far. But we were also interested to hear about the products that have been significant for the company’s history, because they represented major challenges to develop, were risky expansions into new territory or ultimately moved the whole industry forward.

In each instance, we asked for a personal choice, rather than what might be the official company line. And, if they couldn’t narrow it down to one, we were happy to hear the rationale for other products they thought were significant.



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Fujifilm X100VI added to studio scene

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Fujifilm X100VI added to studio scene


As part of the work on our review of the Fujifilm X100VI, we’ve shot and processed our standard studio test images with the camera.

Our test scene is designed to simulate a variety of textures, colors and detail types you’ll encounter in the real world. It also has two illumination modes to see the effect of different lighting conditions.

Given the camera is based on a sensor we’ve seen before, there are few surprizes in terms of its performance. It produces more detail than the 26MP sensor in the X100V. Inevitably it shows more noise at the pixel level than lower-res sensors, but is comparable when viewed at the same output size, up until the very highest ISO settings.

Lens performance

The studio scene is not intended as a lens test: we typically use very high-performance lenses at an aperture that delivers high levels of cross-frame consistency with little risk of diffraction limiting the performance. However, with the X100VI, we have no choice but to use the built-in lens.

The 35mm equiv field of view means we have to move much closer to the target but this is still at over 40x focal length, so not especially close-up. An aperture value of F5.6 means we’re not being especially challenging.

And the X100VI’s lens appears to acquit itself well in these circumstances. In the JPEGs it’s comparably detailed near the center as the X-H2’s results, using our standard 56mm F1.2 R testing lens (though the X100VI is possibly having to apply more sharpening to deliver this result). Things get a little softer towards the corners and exhibit (easily corrected) lateral chromatic aberration and some vignetting in the Raw conversion, but overall the lens appears to be doing a good job in front of a high-resolution sensor.

As with all the other 40MP X-Trans cameras, the Adobe Camera Raw conversion isn’t showing the same levels of contrast or sharpening that the camera’s own JPEGs do, so it’s worth downloading the Raw files to see whether your preferred software and processing workflow produce results you’re happier with. But overall, we feel it does well.



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iOS app mood.camera aims to recreate the experience of shooting film

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iOS app mood.camera aims to recreate the experience of shooting film


Image: mood.camera

A new camera app that wants to offer a film-like experience is now available. The mood.camera app (iOS only) targets fans of analog photography and consists of 14 film-like filters. I was given early access to the app to test it out and see if it offers anything different from similar apps on the market.

There’s been a resurgence in analog photography recently. Though many desire the look of film, they don’t necessarily enjoy the process (and time) of using analog cameras. mood.camera aims to bridge the gap between film and digital by offering filters that emulate film stocks such as Kodak Portra, CineStill and Chrome.

Inside the app, users can imitate a change in ISO (ranging from 100 to 3200) and will notice less detail and more grain the higher you go. There’s also a digital tonal range dial that impacts the amount of contrast and saturation in an image.

Image: Dan Ginn (made with mood.camera). Filter: Chrome

This isn’t the first app trying to emulate the look of film photography. Other apps, such as 1998 Vintage Camera and VSCO, offer filters that provide a classic look, as does Hipstamatic, one of the first smartphone apps within this niche.

What sets mood.camera apart is how it provides an analog-esque process to image making. Whereas other apps provide a live preview of filters and simulations, mood.camera doesn’t.

The app’s developer said the intention was to “mirror the classic film camera experience.” To see how the images turn out, you must view the photos in Apple’s Photos app.

Image: Dan Ginn (made with mood.camera). Filter: Portra

Some obvious features are missing in the app. There’s no portrait mode, which the developer says is because “Apple does not let you capture ProRaw and depth data.” There’s no night mode either, which the developer claims is possible to add but isn’t interested in doing so at this time.

Image: Dan Ginn (made with mood.camera). Filter: Chrome

Having used the app for a week, it did bring a new sense of enjoyment to mobile photography. I liked not having a live preview of my images. Its absence allowed me to worry less about the outcome and focus more on the process of creating photographs.

There was a distinct difference in each of the filters, and while they’ll never be 100 percent like stock film, they’re close. Unlike some apps I have tried before, I found it easy to navigate through the different filters in mood.camera, and the app itself was quick and responsive.

Image: Dan Ginn (made with mood.camera). Filter: Cine

If you want to adapt your smartphone photography workflow and like the classic look, then mood.camera is worth trying. There’s a seven-day free trial available before committing to a paid subscription.

mood. camera is now available on the App Store and costs $1.99 per month or $14.99 as a one-time purchase. A free trial is available to evaluate the app.



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