First Exposure: Sigma 70-200mm f/2.8 EX DG OS HSM

With all of the different specialties that make up the field of professional photography, it is very difficult to make generalizations about equipment. However, from what I’ve seen, there is a 70-200mm f/2.8 lens included in nearly every pro’s camera gear. Camera manufacturers and independent lens makers all have at least one in their lineups, and their top model is always among the first to receive the latest technological breakthrough from the company.

Independent lens maker Sigma is no exception. Its 70-200mm f/2.8 EX DG OS HSM not only incorporates Sigma’s latest technology, it is the first fast zoom in this range from an independent manufacturer to incorporate an image stabilization system. The company has had a 70-200mm f/2.8 lens in its line for over 10 years through a number of different updates. With this latest model Sigma has started from scratch with an entirely new design to create a showcase of their latest optical and electronic technology.

The 70-200mm lens incorporates three conventional Super-Low Dispersion (SLD) elements and two FLD (“F” Low Dispersion) lens elements. Sigma says that FLD glass offers superior optical performance, equal to fluorite, at an affordable price. The combination of SLD and FLD glass is used to provide correction for residual chromatic aberration, and indeed, I found no evidence of chromatic aberration or color fringing in images made with this lens. All together there are 22 lens elements in 19 groups.

The lens incorporates Sigma’s latest Optical Stabilization system, indicated by the “OS” abbreviation. In Mode 1, used for general photography, the stabilization system operates minimizes shake in both horizontal and vertical planes, while Mode 2 provides stabilization only in the vertical plane for subjects moving horizontally to the camera. You choose the mode, or turn them off with a switch on the side of the lens. Both modes take about a second to produce a stable image. I found the optical stabilization system at least the equal to that of my 70-200mm f/2.8 VR I (previous generation) Nikkor, in other words, very good.

 The “HSM” abbreviation signifies the inclusion of Sigma’s Hyper Sonic Motor, similar to Nikon’s AF-S and Canon’s USM designations. I found focusing to be quick and quiet, but I missed the focus range limiter switch found on my Nikkor. The “EX” designation shows that this lens is a member of the top line of Sigma lenses with superior build and optical quality, and finished with a gold band.  In something of a break from past EX lenses, the 70-200mm has a matte black finish on the plastic sections of the lens body. The sparkly black finish of earlier EX lenses is reserved for small sections of the focus and zoom rings. I personally welcome the change.

While on the subject of focus and zoom rings, their position takes a little getting used to. Most zoom lenses have the focus ring forward of the zoom ring. Sigma has designed this lens with rear element focusing so the focus ring is next to the zoom ring but closer to the camera. The zoom ring is much larger, so I was quickly able to adjust to grabbing it while looking through the lens. It was much easier than adjusting to the focus and zoom rings of the Sigma rotating in the opposite direction of my Nikkor.

Finally, the “DG” abbreviation denotes that the lens can be used on film and full-frame digital cameras as well as digital SLRs with smaller than full-frame sensors. The lens is available in Canon, Nikon, Pentax, Sigma and Sony/Minolta mounts.

For cameras with smaller than full frame sensors, Sigma includes an adapter that extends the length of the already deep petal-shaped lens hood for even more efficient coverage. While I like this idea in theory, and it works well when shooting, I ended up leaving the adapter at the studio. Unfortunately, when it and the petal hood are reversed for carrying in a camera bag, the adapter can get stuck inside the petal hood and be a struggle to separate.

The 70-200mm is a true zoom with a minimum focusing distance of 55.1 inches at all focal lengths with a maximum magnification of 1:8. This is something of a step backward from the old Sigma designs, which focused to 39.4 inches with a maximum magnification of 1:3.5, but is in line with the Canon and Nikon offerings.

Build quality is excellent, although Sigma seems to have paid little attention to weather sealing, if that is an issue for your shooting. Both the zoom and focus rings rotate exceptionally smoothly, with a little more effort required of the focus ring. You can manually focus at any time and there is also a switch on the lens to select full time manual focus.

But it’s the optical performance of the lens that justifies a MSRP more than twice that of the previous generation Sigma 70-200mm and approaching Canon/Nikon levels. As mentioned earlier, I found no evidence of chromatic aberration or color fringing with film or digital images from this lens. I found the sharpness to be excellent at the center of the frame at all apertures.

Sharpness at the edges of the frame is also excellent at apertures of f/5.6 to f/11 and very good through f/22. Unfortunately for photographers who are looking for optimum performance at f/2.8, this lens doesn’t deliver. Center sharpness at f/2.8 is very good, but not so good at the edges. There is also considerable vignetting at f/2.8. Stopping down to f/5.6 cleans everything up. To put this in perspective, I tested the lens against my 70-200mm Nikkor.

Other than its performance at f/2.8 and f/4, the Sigma outperformed my older Nikkor at all focal lengths, especially at the edge of the frame with a full frame sensor.

For much of the shooting that I did with the D700 full frame digital camera, I used a Sigma 1.4 Teleconverter EX APO DG. I guess I missed the 1.5 lens multiplication factor of my D2x. Sigma’s Teleconverter is matched to this and a few other Sigma lenses and the loss in optical quality was insignificant.

Sigma has loaded their latest and best technology into this 70-200mm f/2.8 and it shows both optically and ergonomically. Unless you need the ultimate quality wide open of the manufacturers’ lenses, and can afford the higher price you will pay for that quality, the Sigma is an excellent choice.

MSRP of the Sigma 70-200mm f/2.8 EX DG OS HSM is $2,470. MSRP of the Sigma 1.4 Teleconverter EX APO DG is $340. More information and sample photos are available at the Sigma Web site, www.sigmaphoto.com.

Stan Sholik is a commercial/advertising photographer in Santa Ana, CA, specializing in still life and macro photography. His latest book, Professional Filter Techniques for Digital Photographers, covering both on-camera analog and post-production digital filters is published by Amherst Media.