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Sigma

Sigma 18-250mm f3.5-6.3 DC MACRO OS HSM for Nikon Digital SLR Cameras

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Fulfilled by Willoughby's Established 1898
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Style: Nikon SLR Mount


Features

  • 18-250mm focal length, only compatible with APS-C DSLRs
  • 27-375mm equivalent focal length on APS-C cameras, 28.8-400mm equivalent focal length on Canon APS-C cameras
  • Micromotor-type AF motor with full-time manual focusing
  • Image stabilization, Up to 4 stops claimed
  • 62mm filters
  • Available in Canon EF, Nikon F (DX), Pentax KAF3, Sony Alpha, Sigma SA mounts
  • equipped with Super Multi-Layer Coating to reduce flare and ghosting
  • Hyper Sonic Motor (HSM) to ensure fast and quiet auto-focusing
  • The lens features a brass-made bayonet mount applied on the surface to reinforce strength for long-term use and enable high accuracy and solidity.
  • For use with smaller chip APS-c cameras only

Description

18-250mm f3.5-6.3 DC MACRO OS HSM From the Manufacturer High Performance, Compact, High Zoom Ratio Lens designed exclusively for digital SLR camerasBy revolutionizing the optical and structural design of the Sigma 18-250mm F3.5-6.3 DC OS HSM, this new lens achieves a compact size and a minimum focusing distance of 13.8". New material, Thermally Stable Composite (TSC) maintains its structure and has little contractility especially in varying temperatures, is incorporated into the lens barrel. It is convenient when you wish to keep your equipment to a minimum and yet still be prepared for all opportunities and situations, such as travels.A wide range of photography is possible in one lensCovering wide angle 18mm to telephoto 250mm, this versatile lens designed exclusively for digital SLR cameras, is suitable for all-purpose photography including landscape, sport, and macro photography. It is convenient when you wish to keep your equipment to a minimum and yet still be prepared for all opportunities and situations, such as travels.Excellent for macro photographyClose-up capability is improved with the minimum focusing distance of 13.8" throughout the entire zoom range, and maximum magnification ratio of 1:2.9. In APS-C size equivalent, macro photography with approximately 1:2 magnification ratio is possible. In addition, with this lens, the size and flaming of subjects can be adjusted by rotating a zoom ring, making macro photography easier than using fixed focal macro lens. For further convenience, the maximum magnification ratio at each focusing distance appears on the side of the lens barrel. New design. Compact size. Revolutionizing the design foundation results in compact sizeOptimization of the power arrangement by such things as incorporating double-sided aspherical lenses, and reexamination of design, the filter diameter size is reduced. This compact size lens has the approximately 13x high zoom ratio with the filter size of diameter 62mm, and dimensions of diameter 2.9" x Length 3.5". It ensures portability and overall ease of use, making it perfect for travel and leisure photography.New material TSC (Thermally Stable Composite) Thermally Stable Composite The new material "TSC (Thermally Stable Composite)", which has little contractility especially in temperature changes, as well as maintaining firmness, is incorporated into the lens barrel. Compared to Polycarbonate which is generally used, TSC has higher elasticity by approximately 25%. Since thermal shrinkage is low, it has high affinity to metal parts which contributes to high quality product manufacturing. It also contributes to the parts such as the zoom ring and scaling to be slimmerLens ConstructionIn a conventional lens, focusing requires an extension of the entire lens or the front lens group. However, to better accommodate autofocusing mechanisms and closeup photography, a need has arisen for lenses that do not change their length during focusing or suffer from focus-dependent variation in aberration. Therefore, Sigma has developed focusing systems that only move elements within the lens barrel. These incorporate smaller and lighter moving lens elements which help improve auto- focus speed. With their unchanging barrel length and small variation in the center of gravity, these lenses also enhance balance and stability for the photographer. Furthermore, since the front of the lens does not rotate, polarizing filters can be used with extra convenience.MTF ChartView Larger ImageMTF (Modular Transfer Function) is one of the measurements that evaluates a lens' performance, and it contrasts sensitivity at different spacial frequencies. The horizontal axis is in millimeters and shows the distance from the center of the image toward the edges, and contrast value (highest value is 1) is shown in the vertical axis.The readings at 10 lines per millimeter measure the lens' contrast ability (red lines), repeating fine parallel lines spaced at 30 lines per millimeter measure the lens' sharpness ability (green lines), when the aperture is wide open. Fine repeating line sets are created parallel to a diagonal line running from corner to corner of the frame, are called Sagittal lines (S) and sets of repeating lines vertical to these lines are drawn, called Meridional (M) line sets.DistortionView Larger Imageeffective distortion: When you take a picture of a lattice pattern, it will appear as the blue dotted line shows. the red line illustrates how the lattice pattern will appear in the actual picture when any lens distortion is taken into account.relative distortion: In this chart, the horizontal axis shows the ideal image height (the distance from the center to the edge of the image [mm]). The vertical axis shows the extent of distortion. The extent of the distortion is represented by how much Y, which is the actual image height, grows (or shrinks) against Y0 which is the ideal image height.Extent of distortion: D[%]=(Y-Y0/Y0)x100When you take the picture of a square object, if the distortion amount show a minus value, the image will be seen as expanded (Barrel distortion). If the distortion amount is a plus value, it will be seen as a recessed (pincushi on distortion). When the distortion value is close to 0, the appearance of distortion is very minimal.VignettingView Larger ImageThe horizontal axis shows the image height (the distance from the center to the edge of the image [mm]). The vertical axis shows the amount of light in the image (based on the amount of light in the image center being 100%). If the peripheral amount of light is lower than the center, the four corners of the image will be darker (vignetting).Specifications Lens Construction 16 Elements in 13 Groups Angle of View (for SD1) 76.5 - 6.5 degrees Number of Diaphragm Blades 7 Blades (Rounded diaphragm) Minimum Aperture F22 Minimum Focusing Distance 35cm / 13.8in. Maximum Magnification 1:2.9 Filter Size Diameter 62mm Dimensions Diameter 73.5mm x Length 88.6mm / 2.9in. x 3.5in. Weight 470g / 16.6oz.


Product Dimensions: 3.5 x 2.91 x 2.91 inches


Item Weight: 1.04 pounds


Item model number: 883306


Is Discontinued By Manufacturer: No


Date First Available: June 20, 2012


Manufacturer: SIGMA


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If you place your order now, the estimated arrival date for this product is: May 25 – May 29

Yes, absolutely! You may return this product for a full refund within 30 days of receiving it.

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Top Amazon Reviews

    • OK, so I REALLY WANTED to love this lens . . .
Style: Canon SLR Mount
OK, so I REALLY WANTED to love this lens . . . This is a long review. I like to write. I hope folks will find my story interesting and helpful. I struggled for weeks to decide on my “next” DSLR lens. After hours staring at specs, searching for prices, and digesting review after review, three contenders emerged. They were: the Sigma 18-250mm for $399, the similarly designed Canon 18-200mm for $699, and the Canon 24-105 f/4 L for closer to $1,000. OK, so that’s a big price range. Stay with me to the end and this will make sense. . . The Sigma 18-250mm could be considered a good “litmus test” to clarify your personal goals as a DSLR owner. If you are using your DSLR to take "pictures" then you may really enjoy this lens. For the money, it delivers quite a lot. If, instead, you use your DSLR to take "photos" then this lens is probably not going to be for you. I want to characterize the lens on this basis, because it's really only a "good lens" or a "bad lens" based on what you expect from it. Let's start with disclosures: I’m a total amateur. I own a Canon T2i (EOS 550D) and “sort of” know how to use it. I originally decided to pop for a DSLR in order to get faster instant-on-to-first-shot performance for taking pictures of my kids. Once I started using the T2i, I fell in love with what the camera could do. Beyond the kit EF-S 18-55mm lens, I next bought the EF-S 55-250mm. The 55-250mm is a solid, inexpensive, long telephoto lens that will let you take nature shots, action shots, etc. – I bought it for soccer games. Together, these lenses give you a nice wide-angle to medium-telephoto range. But, let’s be honest: changing lenses is a pain. The Sigma 18-250mm is designed to replace this standard Canon EF-S combination, and give you the 18 – 250mm range without changing your lens. If replacing this combination is your goal (or if you only have the 18-55mm,) then the Sigma may be what you are looking for. If you’ve got the budget, however, you should definitely consider the more expensive Canon 18-200mm. (I’ll only indirectly address the Canon lens in this review.) My problems with the Sigma stem from the third lens I purchased for my T2i: the Canon EF 50mm f/1.8, affectionately known to many as the "Thrifty Fifty.” When I took my first looks at shots taken with this lens, I stopped wanting to take "pictures" and started wanting to take "photos" – the impact was overwhelming! If you own a Canon DLSR, consider yourself a relative beginner, and DON'T own the Thrifty Fifty, then you should stop reading this review right now, and go out and buy yourself a Thrifty Fifty immediately. For a mere $150.00, you will be absolutely blown away by what your camera's sensor can actually do! The kit lenses are excellent. However, when you see the razor-sharp focus, incredible detail, and beautiful bokeh (foreground & background intentionally out of focus,) that the Thrift Fifty delivers, you’ll be amazed. Why do I mention all of this detail? I think it’s helpful to explain what I actually knew about lenses when I decided to try out the Sigma. So here goes… The good: - The zoom range of the Sigma is why you buy it -- having 18 to 250mm available in a single lens is just really, really convenient. There’s almost no shot you won’t get. - The lens is relatively lightweight given its range. I carried it daily for the better part of a week, and never considered the weight an issue. (It is a good bit heavier than either of the kit lenses. I’m told it weighs about the same as the Canon 18-200mm.) - The build quality is very nice. I have friends who swear by Sigma lenses, and now I can see why. It is solid, well manufactured, and aesthetically pleasing - Sigma's OS (Optical Stabilization) is quite good. OS won’t help you too much in a low-light situation, but it will effectively combat camera shake when shooting handheld outdoors, which is what this lens is for: walking around with a single, do-it-all lens. - f/3.5 performance at 18mm is very nice, especially when combined with Sigma’s OS. You won’t get brilliant light like you can with a faster (f/2.8, f/2.0, f/1.8) lens, but it will help tremendously when there is enough light available. - For $399, the price / performance of this lens is really quite impressive. I can’t say that you should expect more for your money. If you are tight on budget, want lots of capability, and aren’t a freak about image quality, you will be very pleased with this lens. The Bad: - Because of the Thrifty Fifty, I’m now a freak about image quality. Sadly, adding the Sigma to my lens collection felt like a step backward. Yes, I got the shot, but I tended to be unhappy with it . . . here come the details . . . - At all focal lengths except 70 - 120mm, the Sigma’s shots were soft. Pixel-peeping (zooming way in with your photo editing software; something that amateurs really shouldn’t be doing…) on all shots taken outside of this range, I was disappointed that I was not seeing crisp, sharp details. Softness is understandable at long zoon, but from 18mm to 70mm, things should be sharp. - Significant CA. Honestly, I didn’t really understand what Chromatic Aberration (or, CA) was before owning this lens. CA is the tendency of red and green light to separate at the edges of an image. It happens because the different wavelengths (colors) of light bend differently, and so they don’t line up together when focused through a complex lens. Apparently, all lenses suffer from some degree on CA. However, it’s particularly a problem on zooms with a wide range. Unfortunately, I found the Sigma to suffer quite badly from CA, resulting in significantly degraded image quality. For me, this was the killer. - Lens creep. Many zooms suffer from what’s known as "creep," where the lens barrel will extend (undesirably) under its own weight. I use BlackRapid strap (which I highly recommend) that attaches to the camera’s tripod mount. Because this design means that the lens points towards the ground when being carried, any lens that does creep, will creep. The folks at Sigma obviously anticipated creep, because they included a zoom lock, which lets you lock the barrel at the 18mm position. Unfortunately, this results in constantly locking & unlocking the lens, which quickly becomes a pain. It this a nit-pick? Maybe. But for reference, I’ve never had my Canon 55-250mm creep. (Perhaps this issue is not such a big deal with other straps, but it was definitely an “annoyance” with my set up. At least they included the zoom lock!) - Is it really 250mm? One of the odd things I noticed during my checkout was that photos taken at full zoom (250mm) on the Sigma somehow seemed different from those taken at 250mm on my Canon 55-250mm. So, I did a test. I took the same shot and actually measured the captured image. I was stunned to find a 40% difference! The Canon lens seemed to zoom much farther than the Simga – what’s up with that?! I queried some forums and got educated on “lens breathing” which can sometimes account for this type of difference. However, the consensus from several experts was that a 40% delta could not be explained solely by lens breathing. In the end, I left this as a bit of a mystery, but caveat emptor – I am still wondering if Sigma’s 250mm was really 250mm, or maybe just 200mm… - Barrel friction. Apparently one of the big mechanical challenges of long zooms is getting just the right amount of friction in the barrel, and keeping it consistent. The Sigma underwhelms here; there is very obvious “stickiness” between 70 and 200mm. Perhaps they were intentionally trying to make it sticky to avoid lens creep? The upshot is that as you zoom from 18 towards 250, you hit big resistance for about a ½ turn. Once I got used to it, it wasn’t a huge deal. Ideally, it shouldn’t be there, but there you have it. So, why did I return this lens? No question: Image Quality. At the end of the day, I realized that for me, taking a step back on image quality wasn’t worth the convenience of this massive zoom range. During my checkout, I aggressively researched lens design, and read dozens upon dozens of reviews of zooms of various ranges. My conclusion is that outside of wildly expensive professional lenses, you must be willing to accept tradeoffs in a consumer super zoom. In the case of the Sigma, while they maintain good aperture performance and wonderful zoom range, these features come at the expense of Image Quality. For me, this was a deal-breaker. For you, it might not be. So, for the amateur-recently-turned-IQ-snob, what lens to buy instead? After countless hours poring over reviews and asking friends, a clear direction emerged: I was going to have to sacrifice zoom range if I wanted better, faster glass. There were dozens of contenders out there: Canon, Sigma, Tamron, Tokina. The winner? The Canon 24-105mm f/4 L. Although nominally priced at $1,149.00, white box copies of this lens are now showing up at $799. So, is it worth 2X the money to get less zoom range but upgrade to one of the legendary Canon “L” lenses??? Ab-so-lutely. Giving up wide angle from 18mm to 24mm really didn’t worry me too much. At 18mm, most of the group people shots I’ve taken have been easily inside the frame. Looking across the wide-angle shots I had taken with the Sigma, I also noticed that many of them were actually at 22m, instead of 18mm. So, bumping from a maximum wide of 22 to 24 didn’t seem like too much of a sacrifice for me – so, maybe I just have to take another step back from my subject to get the shot. Big deal. If the shot is going to look MUCH better, I can take one more step back…. In contrast, the prospect of giving up telephoto from 250mm (if it really was 250…) all the way down to 105mm, did worry me… a lot. Should I just be happy with the 55mm max range on my kit lens and save my money? Should I just continue to use my 55-250mm for these longer-range zoom shots? Should I try the Canon 18-200mm instead? After all, if my intent was to have “just one lens,” what would having the extra 50mm provided by the original kit lens really buy me? Then I remembered the Thrifty Fifty. One of the amazing things I discovered when first playing with it was that far-away objects, when in focus, were still very, very sharp. So sharp, in fact, that with 18MP to play with, I could shoot a far-away object, crop the shot, and still have a nice end result. So, couldn’t I do the same with a very sharp shot at 105mm? If I wanted to zoom to 200mm and could only do 105mm, if the shot was sharp enough, would I be happy with a cropped image? And there was my answer . . . yes. The 24-105mm f/4 L blows away the Canon 18-55mm, the Canon 55-250mm, and the Sigma 18-250mm throughout its entire range. At every focal length, its performance is simply superb. So, while it may have minor limitations for shot framing and composition, it completely wins by enabling the best results all the way across the middle part of its zoom range. Still, the question lingers: is it worth 2X the money given the zoom range sacrifices? Well, let me just say this: I’m once again giggling when I review my shots at the end of a day. The Image Quality of the f/4 L is just off the hook, and I can’t imagine going back – I haven’t had this much fun since the 50mm f/1.8. Even when the lens is stopped down to 5.6 or more, the sharpness of the images are just astounding. So long as you keep the ISO below 800, the lens delivers amazing IQ across its aperture range. There is no question that it is the winner from 24mm to 105mm at every length. At the end of the day, you need to assess the Sigma 18-250mm based on your own personal goals. For me, it was an interesting and educational detour that taught me how much I value IQ. For you, the lens might be a terrific expansion that brings you lots of creative results. Just know that lenses are priced based on very mature and active consumer markets. You will get a lot with this lens, but you won’t get everything. Just make your decision based on how you take pictures, and you’ll be satisfied. I’m very glad I got a change to shoot this lens – thank you Amazon for your generous exchange policies. At the end of the day, both Amazon and Canon got more of my money, and I got more satisfaction. As much as I enjoyed the Sigma, I’m enjoying having splurged for the f/4 L even more! ... show more
Reviewed in the United States on August 1, 2013 by Richard M. Marshall
    • Excellent Travel Zoom Lens
Style: Sony Digital SLR
This new lens by Sigma, only released in December of 2012 for Sony alpha cameras (the Nikon and Canon mount versions were released a bit earlier) is worthy of a good look by anyone shooting with a Sony alpha and looking for a do-it-all "walkabout" lens. The lens seems to be manufactured with excellent quality. An increasingly rare thing these days, the lens is manufactured in Japan. The materials used are described in the product literature at the top of the Amazon page, but the feel of the lens is very good, with a solid feel and a generally smooth zoom mechanism. Both the zoom lock and the manual focus switch have a very nice, solid click engagement. The zoom, while smooth, has the slightest amount of stiffness in the middle of the zoom range, something that I believe will probably decrease over time. I believe the lens will exhibit "lens creep" over time, but this is hardly something unusual for this class of lens (and if you wish, look into a Lens Band to help control it). The glass elements (again, see the description on the Amazon page above this review) incorporate low dispersion glass ("SLD"), and also make use of three aspherical lens elements (meaning that the lens curvatures for these elements are not spherical, but "a"-spherical to reduce distortion) to apparently reduce the number of lens elements used in the model. This lens is an updated version of Sigma's earlier 18-250mm lens (the Sigma 18-250mm f/3.5-6.3 DC OS HSM IF Lens for Sony ), which has been out for a couple of years. BE CARFUL ABOUT THIS, because the older and newer models come up together when you search for them on Amazon or any other site. The distinguishing mark is that the new version will say "Macro" as part of it's name. It's not a true macro lens, of course, but the newer lens element configuration has allowed Sigma to reduce the minimum focusing difference to about fourteen inches (and at any zoon level!), no mean feat. When you couple that minimum distance with the 250mm zoom level, this lens can pass as a macro in some sense, and I've been able to achieve such shots using that configuration. There is also a price difference between the older and newer models, and you have to be careful not to make the mistake of thinking you are getting a real steal on the lens when you are, in fact, looking at the older model. The newer model is lighter (470g vs. the older model's 630g, a substantial difference) and smaller (7.37 x 8.89 cm vs. the older 7.87 x 10.16 cm), which is part of the reason you might want to consider the newer one (amongst others, continue reading). Images seem to be sharp across the zoom range, and although some reviewers are reporting a slightly softer image at maximum zoom (250mm), I really don't see that too much myself. In fact, most of the shots I've taken with the lens thus far really don't seem to need sharpening all that much (maybe a touch here and there, but this is true of all lenses in most any price category). I normally use a Sony SAL-1680Z 16-80mm f/3.5-4.5 Carl Zeiss Vario-Sonnar T DT Zoom Lens , and the Zeiss has it's trademark "Zeiss color," and this Sigma has more of what I would describe as a neutral color palate: you can intensify the contrast a bit if you desire, but it probably isn't necessary. You might also be wondering about the sharpness level against the Zeiss. I actually don't see all that much of a difference in the sharpness, but these are two very different lenses with very different costs. The Zeiss 16-80mm does what it does remarkably well. This Sigma, however, does what is does very well, too. It's a wide angle lens that zooms all the way to 250mm, and gives pretty uniform picture quality across the whole range. I am using the lens with a Sony Alpha SLT-A57 16.1 MP DSLR , and the weight and reduced physical dimensions of the lens make it a really great companion to the a57. The lens is light enough (470g) and small enough that you shouldn't have trouble using it on a day-long shoot, or carrying it around on vacation. It's physical appearance is pretty nondescript, which is kind of nice in a way, because it doesn't attract attention to itself. There's just a small amount of gold labeling, and white markings for zoom level, and a flat black finish to the grip. The lens uses the "double-trombone" extension for the barrel, but it feels very solid, and doesn't protrude as much as similar lenses. One thing this lens has--and something that will ruin you once you try it--is the "Hypersonic Motor" focusing mechanism. This means that focusing is accomplished through application of a small amount of current on a piezo-electric component, not a screw-drive mechanism, as in most lenses. In practice, it means that you'll hear almost no sound when the lens if focusing, just the slightest amount of internal movement of the elements. It's nearly completely silent. Even my 16-80mm Zeiss doesn't have this focusing technology. Focusing is fairly quick, too, although perhaps not quite as quick as my Zeiss, but really nothing of great difference to speak of. So, as you can tell, thus far, I'm happy with this lens. When you add to this that the lens is currently being sold at only $550, it's actually something of a bargain. It's a well-built, good performance lens with a fantastic zoom range and a good price, to boot. And it's made in Japan. I suspect this lens will become quite popular over time. Five stars. -- Additional Notes: Although the descriptor here says "Sigma 18-250mm f3.5-6.3 DC MACRO OS HSM," note that this is a slight error. The Sony (and the Pentax mount, as well) do NOT come with optical stabilization ("OS"). As Sony users are aware, modern Sony alphas have "SteadyShot INSIDE," so any lens you mount to the camera has, by default, optical stabilization. This titling error seems to be a carry over from the Nikon and Canon mount versions of the lens, both of which come with "OS," since neither Nikon or Canon cameras have built-in optical stabilization like the Sony alphas. There is some vignetting (darker portions of the photo in the corners of it's frame)present at most of the zoom levels. This may or may not be an issue to you. Most "travel" zooms exhibit this behavior as a function of the compromises made to achieve such long reach (here, 18 to 250mm). You may be able to reduce this somewhat by decreasing the aperture for a given shot, but I have not yet tested that on this lens. The vignetting is pretty small (although noticeable), so this may not be of great concern. Note, also, that the lens does not come with a lens bag or case. You'll have to pick that up separately. For whatever it is worth, the bayonet mount is made of metal, not plastic (silver in color, made of brass). The small white dot that is used to align the lens with the camera when you are attaching the lens is a bit hard to see. Compare that with the bright orange dot on Sony lenses, which is instantly visible, and therefore easier to mount the lens. It's alright that Sigma did not use orange to keep from intruding on the Sony style, but the white dot should have been made a bit larger for easier visibility. My printed documentation says the lens has a one-year warranty. For filters, I recommend the excellent Hoya 62mm Super Multicoated UV (0) or the Hoya 62mm DMC PRO1 Glass Protector . ... show more
Reviewed in the United States on January 16, 2013 by Ray

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