Tag: Zoom Lenses

Everyday Super Telephoto: SIGMA 100-400mm DG OS HSM | Contemporary Lens

Wildlife and nature photography is my passion, and I have been shooting with a variety of telephoto lenses for years, relying on long-range optics like the SIGMA 150-600mm DG OS HSM | Contemporary and the 500mm F4 DG OS HSM | Sports to capture photos of creatures great and small. But despite the excellent reach, I often found myself wishing I had something a bit more compact that I could carry on a daily basis. That’s when I learned about the SIGMA 100-400mm F5-6.3 DG OS HSM | Contemporary — smaller, lighter, with plenty of zoom power for everyday shooting.

The SIGMA 100-400mm DG OS HSM | Contemporary
Telephoto lenses provide great compression for landscapes with a completely unique look.

First impressions of the 100-400mm DG OS HSM | Contemporary

The 100-400mm DG OS HSM | C has been around for quite a while, but when SIGMA released a new version of the lens for E-mount and L-mount, I realized that I needed to give the DSLR version a try. Thankfully, it not only works with Nikon F and Canon EF DSLR cameras, but modern mirrorless cameras as well with the OEM adapters. For me, the lens easily mounted on my Nikon Z 7II using the Nikon FTZ adapter. It fit easily, quickly and securely.

Getting familiar with the 100-400mm Contemporary, mounted on the Nikon Z 7II

When I first received this lens, I was immediately impressed by its lightweight, compact design despite its zoom range. This size and weight make it a dream to handle, and I am easily able to take it anywhere I may wander. The lightweight hood is essential, especially out in the field. Not only does it prevent light leaks, but it is also added protection when I am hiking or in my kayak. The hood acts as a bumper to prevent the lens glass from being scuffed or scratched. I always make sure the hood is attached when I am using it. It easily locks into place, and when not in use, stores right on the lens.

Canada Geese with goslings, shot from my kayak. I shot this image while following them with my camera… they were fast swimmers!
280mm, 1/400s, F6, ISO 800

The focal range is AMAZING! The 100-400mm range allows me to both be close to my subject or further away, depending on what I am shooting. With flora and portraits, I am able to use the shorter side of the lens (100mm) and I am able to get close to my subject — just a little more than 5 feet away!

  • Wild daisy after a rainstorm.
    400mm, 1/320s, F6.3, ISO 200
  • Maternity portrait in low backlighting.
    240mm, 1/250s, F6, ISO 3200

The longer side of this lens (400mm) works great for wildlife, and in my case, shy birds and dragonflies. The length also gives BEAUTIFUL separation of subject and background, even with aperture range of F6.3 to about F8.

  • Dragonfly on a reed.
    400mm, 1/640s, F6.3, ISO 125
  • Eastern painted turtle laying eggs in a cornfield.
    400mm, 1/250s, F6.3, ISO 800
  • An American Bullfrog peers above the swamp surface. I am so glad I was able to grab a shot before he disappeared under the water.
    400mm, 1/250s, F6.3, ISO 2000

I recently was able to not only view a partial solar eclipse, but this lens was remarkably effective in photographing it. It was early morning, about 5:30AM with low-light conditions. I was able to handhold this lens without issue. Its optical stabilization (OS) is superb!

The beautiful partial eclipse as seen in Western New York, seen rising over the Cattaraugus Hills in the early morning. Handheld, locked onto the sun.
400mm, 1/8000s, F6.3, ISO 250

All my shots using this lens have been handheld. With tricky subjects, low light or movement I lock my body and the OS does an amazing job keeping my subject focused. I am simply astounding by what I can capture with this lens, in all types of lighting conditions. It is quickly becoming a favorite lens of mine and it is always in my gear bag.

Versatile enough for nearly any situation

Let us talk portraits! I challenged this lens with tricky light situations and lots of motion during a beach maternity session. It did NOT let me down. It passed my challenge with flying colors. The depth-of-field range was excellent and a pleasure to work with during the session. The zoom range allowed me to get in closer while keeping my distance, to grab more intimate moments between the couple. It also gives beautiful bokeh that only enhances any portrait session. I could not be more pleased with this lens’ ability to capture an entire session start to finish.

  • An intimate moment between an expectant couple.
    165mm, 1/250s, F5.6, ISO 160
  • A couple shares a backlit moment by the shore of Lake Erie.
    100mm, 1/2500s, F6.3, ISO 120
  • The waves, mist and full late-day sun were no match for the lens. I was able to capture the exact feel I wanted from this shot.
    100mm, 1/2500s, F5.6, ISO 160

Probably my favorite subject to photograph using this lens has been nature images. From dragonflies, to birds, frogs to macro shots, this lens effortlessly captured it all! It came along with me in my kayak, and I was able to shoot from my kayak without any problems. Even the occasional splash from my paddle was not a problem for it.

  • Dragonfly with jewel-like backlit wings.
    400mm, 1/1600s, F6.3, ISO 640
  • A ridiculously photogenic Northern Leopard Frog.
    320mm, 1/320s, F6, ISO 500
  • This beautiful button bush stuck out to me with its lovely, round, white and yellow blooms up against the dark green foliage.
    400mm, 1/1600s, F6.3, ISO 250

Favorite features of the 100-400mm DG OS HSM | Contemporary

The various features on the SIGMA 100-400mm Contemporary lens are especially useful, and offer a ton of value in a lens this affordable. Some of the most notable features are:

  • It is a full-frame telephoto!
  • Aperture range is very generous, F5 for enough light and subject separation, all the way up to F22 for capturing details.
  • Close focusing distance, which is about 64 inches, great for macro images.
  • It is incredibly lightweight and compact, which makes it a pleasure to take along on any excursions without adding more bulk to my gear bag.
  • The optical stabilization (OS) is useful when I am handholding in challenging situations.
  • The focusing motor is reliable and quiet, a major plus when capturing wildlife of any kind.
  • The focus ring and zoom ring are smooth, fluid and precise. I have used both manual and autofocus easily and effectively.

There are 4 main switches on the barrel of the lens, each to make it even more customizable to your shooting needs and are quite useful. Let me get a little bit more in-depth here:

The focus switch has 3 settings. The AF (auto focus), MO (manual override) and MF (manual focus). With an easy slide of the switch, you can easily move between the three modes quickly for your focusing needs.

The second switch is your focus limiter. You have 3 options here as well. Full range, which will be in handy when you are out in the field and not sure what you will be photographing. It will cover the entire range. 6m – infinity, if you subject is further away from you. Finally, 1.6m-6m, for closer subjects, also a great range for your flora and macro shots.

  • Closed hibiscus blossom in the late day sun.
    400mm, 1/500s, F6.3, ISO 640
  • 12-spotted lady beetle on a swamp reed.
    400mm, 1/1250s, F7.1, ISO 320
A focus limiter switch makes it easier to keep your focus range within a certain area, especially useful for closeups.

The third switch has your Optical Stabilizer (OS) options. You have 3 options: OFF, 1 & 2. Mode 1 is your standard stabilization, for example…. a skittish dragonfly on a reed, a macro image of a flower that is being moved by a breeze, or during a portrait session. Mode 2 is for your panning shots, as in, locking onto a bird that is flying or any object that is moving rapidly within the frame.

Optical image stabilization is a huge help when zoomed in on tiny dragonflies, especially from a kayak.
400mm, 1/500s, F6.3, ISO 180

The fourth and last switch is the custom switch. You have 3 options: OFF, C1 & C2. You can use this switch to allow customization of your Optical Image Stabilization, Autofocus Speed, and Focus Limiter range, all in one preset. In a flip of the switch, you can automatically use one of your customized settings. The “off” setting is the default. The SIGMA USB Dock is required to make use of this feature, but it’s a worthwhile addition if you make regular use of this lens or have more than one SIGMA lens of the same mount.

There is also has a lens lock feature in the middle of the lens. I find it very important to use this switch. It keeps the barrel securely locked with no movement. This keeps it safely secure while you are hiking around a location, or when it is stored in your gear bag.

SIGMA 100-400mm DG OS HSM | Contemporary Final Thoughts

Overall, this lens is a favorite of mine due to its versatility, handheld capability and lightweight design. I find myself using it often as it easily covers a range of work from portraits, landscapes, macro, wildlife and more!

  • Black and blue dragonfly in the grass.
    400mm, 1/500s, F6.3, ISO 400
  • Hydrangea bloom after a rainstorm.
    370mm, 1/320s, F6.3, ISO 320
  • Ferns illuminated by a beam of sunlight that broke through the heavy forest canopy.
    100mm, 1250s, F5, ISO 320

I highly recommend the SIGMA 100-400mm DG OS HSM | Contemporary as I continue to be impressed by the broad capabilities it offers. You will be more than happy to have this incredible ultra-telephoto in your arsenal of lenses.

Beautiful wild daisies in a field. I shot this from a low angle, and the daisies were backlit with the late day sun.
100mm, 1/200s, F6.3, ISO 125

A Weekend in Chicago with the SIGMA 28-70mm F2.8 DG DN Contemporary Lens

Big cities not only fill me with wonder and excitement, but also countless photo ideas. Zipping past Wisconsin farm fields on the Amtrak Hiawatha headed toward Chicago, numerous photographic possibilities kept popping into my mind.

And sitting beside me, locked onto my Sony A9 II, was the new SIGMA 28-70mm F2.8 DG DN | Contemporary lens. This lens, so small and lightweight, looked as if it was designed for travel. The lens and camera fit easily in my backpack, joining my iPad and a Platypod (a flat tabletop tripod) for an adventure in the the big city.

SIGMA 28-70mm F2.8 DG DN | C on Sony A9 II. 28mm, 1/640s, F7.1, ISO 1000.
The Great Hall in Union Station sits almost empty on a Sunday afternoon. Normally this is a busy time with travelers heading back home after spending a weekend in Chicago. COVID restrictions are still limiting some travelers. To help visualize the emptiness and the large scale of the Great Hall, I zoomed back to 28mm to include as much of the room as I could.

It was also a change from past trips because even with some Covid-19 restrictions still in place, I could travel from Wisconsin to Chicago. A chance to venture out again, observe, record, and share life.

As the train pulled into Chicago’s Union Station, I made a major change to my shooting game plan. Usually, I like to consider the various aspects of the lens I’m shooting with and take photos that will specifically accentuate them. But now, I just wanted to let my creativity run wild and let the pictures happen, knowing that would be the best way to show you what this little lens is capable of producing.

SIGMA 28-70mm F2.8 DG DN | C on Sony A9 II. 28mm, 1/125s, F11, ISO 400.
Puddles always catch me eye because you can usually get some interesting reflections of the city if the light is coming from the right direction. And you have the option of zooming in for a cleaner composition, or in this case, zoom out to 28mm to show the edges of the puddle on the sidewalk. A higher f-stop helps ensure that both images are in focus. One thing I’ve learned is that when zooming in on a reflection, autofocus may get fooled, so I always go into manual focus to make sure my reflected building is in focus.

During previous trips to large cities, I would often only take a prime lens. Photographing in a city usually brings out the street photographer in me, pushing my creativity to see life through a single focal length.

But sometimes, traveling opens my creativity to more than what just one prime lens can capture. This time, I wanted flexibility to shoot wide as well as tight, and let my creativity feel unlimited.

The following images show not only what I felt compelled to capture during my brief trip to the city, but also how truly versatile the SIGMA 28-70mm F2.8 DG DN | C can be for travel.

SIGMA 28-70mm F2.8 DG DN | C on Sony A9 II. 33mm, 1/640s, F2.8, ISO 5000.
Iconic landmarks are always fun to photograph when traveling because it offers the challenge to shoot it in a way no one else has (or very few have). Any initial ideas I might have had about photographing the Chicago Theater sign were limited by construction in the area. But I did have a straight on shot. And there was a lot of traffic. And what caught my eye was the edge lighting the sign gave to the top of the cars passing by. I knew shooting wide open with the lens would be sharp, so setting that at F2.8, I played with ISO and shutter speed to capture the highlighting on the cars. In final edit, I decided I liked this one with the cars centered.
SIGMA 28-70mm F2.8 DG DN | C on Sony A9 II. 31mm, 1/50s, F2.8, ISO 2000.
Shooting wide from the Michigan Avenue bridge, with big, stark buildings contrasting the softer Riverwalk area. If you can shoot with just a little ambient light in the sky, it helps to blend in with the artificial lights. In-camera image stabilization helped me to shoot handheld in low light, while allowing lenses like this one to stay compact and lightweight.
SIGMA 28-70mm F2.8 DG DN | C on Sony A9 II. 66mm, 1/2500s, F2.8, ISO 100.
The sound of saxophone music led me to a street musician along Michigan Avenue. I took a few portraits, but my eye kept going back to the musician’s fingers on the instrument. I chose a wide open F2.8 shot to keep the background blurred, while only keeping the keys of the saxophone in focus.
SIGMA 28-70mm F2.8 DG DN | C on Sony A9 II. 36mm, 1/100s, F2.8, ISO 2000.
While checking out the lights at night on Michigan Avenue, I was flooded in blue light from a police car in front of the hotel. Chicago has officers placed in regular intervals, blue lights flashing, to keep things safe downtown. There was an unreal look to one of the officers standing by his squad car, bathed in blue light, so I asked if I could take his portrait. Because the blue light strobe pulses, and my shutter speed didn’t always sync with the light, each image looked a little different as far as light coverage. Which was a happy accident because it gave me a few images where the strobe didn’t burn out the officer’s face.
SIGMA 28-70mm F2.8 DG DN | C on Sony A9 II. 56mm, 1/1250s, F7.1, ISO 1600.
The Burberry Building on Michigan Avenue in downtown Chicago is one place I stop to photograph every time I am in Chicago. There is a graphic appeal with this building no matter where I am standing or what time of day.
SIGMA 28-70mm F2.8 DG DN | C on Sony A9 II. 70mm, 1/30s, F20, ISO 100.
A few steps from bustling downtown Chicago and there are expanses of green near the marina. And people walking, running and biking. And a good chance to brush up on my panning technique. The lens had no problem keeping up with 15 fps on my Sony A9M2, locking on in tracking focus and giving me good background blur.
SIGMA 28-70mm F2.8 DG DN | C on Sony A9 II. 35mm, 1/60s, F7.1, ISO 3200.
One advantage of traveling with a zoom lens is the ability to tweak your focal length when you are limited in your movement. Looking down from the fourth floor of the Starbucks Reserve Roastery filled my mind with all of these graphic lines and colors and so many photo ideas. But there were also tourists looking at the same thing on all of the other floors, and I felt it was distracting to a clean composition. But zooming out a bit to 35mm and holding my camera out over the railing would effectively crop out all of the tourists. Except… for the one I wanted coming up the escalator to add just that one human element to the image. As mom always said… patience, my son. And so I waited. And finally it all came together in this photo.
SIGMA 28-70mm F2.8 DG DN | C on Sony A9 II. 59mm, 1/1600s, F2.8, ISO 320.
Although I love being on the street with a camera, it always pays to look out the window of your hotel. A little movement caught my eye, then I noticed the window washer. Advantage being able to zoom out to 70mm and capture the graphic element of the building with the small size of the window washer.
SIGMA 28-70mm F2.8 DG DN | C on Sony A9 II. 59mm, 1/3200s, F2.8, ISO 125.
Chicago streets were definitely not as crowded as I have seen them, and on this night, only a few ventured out into the rain. This image was also converted to black and white for that “city” feel. And although I only got a quick burst of images before the composition was gone, I did find one with an active step for each walker.
SIGMA 28-70mm F2.8 DG DN | C on Sony A9 II. 70mm, 1/1600s, F2.8, ISO 3200.
Definitely someone who knows what I like… reading the news on my phone and drinking coffee in a coffee shop. And as a photographer, I have always liked silhouettes. In my thinking, these moments happen quickly. A few seconds later, the man gets up and leaves, or a group of people come in and block your shot. Having a lens that is fast to focus and easy to carry around with you all the time makes for a great travel companion.
SIGMA 28-70mm F2.8 DG DN | C on Sony A9 II. 28mm, 1/640s, F7.1, ISO 400.
Looking like a huge colorful break from the gray and browns of the building was a mural with the word “Dream”. If that hadn’t caught my eye, the mottled lighting from the fading sun made sure I became aware there was an image waiting to be taken. I backed up to the edge of the sidewalk, zoomed out to 28mm, and waited for the human element to walk into the image. When photographing something like this, I’m waiting for a moment. One that I can’t describe beforehand, but know it when it happens, And it happened with this couple, seeming to walk in step with each other.
SIGMA 28-70mm F2.8 DG DN | C on Sony A9 II. 70mm, 1/40s, F5, ISO 2000.
I’ve still yet to ride the “L” elevated trains, but a nice station manager offer to let me in to get a better photo. This is when I’m glad I brought the zoom instead of a prime lens. Wide, medium and tight shots as the train pulled in, giving me options to share what it was like.

Heading back home, and reviewing my photos on the back of the camera, I was happy with what I saw and was able to capture. The real truth, however, is reviewing them on the computer at full size. And that displayed the sharpness of the little SIGMA 28-70mm F2.8 DG DN | Contemporary. Not only small and light, but fast to focus and very sharp images. Oh, and did I mention easy on my budget? I think I have met my new travel companion.

Team Tests: SIGMA 28-70mm F2.8 DG DN Contemporary Lens

The SIGMA 28-70mm F2.8 DG DN | Contemporary lens is a truly versatile piece of gear for mirrorless full-frame cameras, and the team here at SIGMA America has been able to spend some time putting it to good use since its release in early 2021. Let’s catch up with some SIGMA employees and see how the 28-70mm worked for them!

Brian Linhoff – SIGMA Technical Representative

Ever since we announced the original SIGMA fp camera, I have dreaming about a small, lightweight zoom that could become my everyday walkaround lens to use with such a small, compact camera. I love the size and weight of the 28-70mm F2.8 DG DN | C, but image quality seals the deal for me. Whether it’s a quick shot the dogs playing in a freak March snowstorm, or trekking around Michigan to get some lighthouse photos on a chilly May morning, the SIGMA fp L with the 28-70mm just was a joy to use. AF was fast and responsive, and image quality was stellar for such a compact lens. This is my go-to travel companion now.

SIGMA 28-70mm F2.8 | C on SIGMA fp L
64mm, 1/800s, F2.8, ISO 100
SIGMA 28-70mm F2.8 | C on SIGMA fp L
70mm, 1/640s, F4.5, ISO 100
SIGMA 28-70mm F2.8 | C on SIGMA fp L
70mm, 1/640s, F4.5, ISO 100

Aaron Norberg – SIGMA Technical Representative

When running through my gear options as I head out for a hike, I’ll often opt for a prime lens to keep the weight of my pack to a reasonable minimum. The trade-off usually comes at the expense of versatility. With primes, I’ll either need to take multiple lenses or accept that there may be scenes I won’t be able to frame up just right. When I got wind of the new 28-70mm F2.8 DG DN | C, I couldn’t wait to try it out in the field as a lightweight option for my wanderings.

SIGMA 28-70mm F2.8 | C on Sony A7R III
52mm, 1/250s, F4, ISO 800
SIGMA 28-70mm F2.8 | C on Sony A7R III
28mm, 1/250s, F8, ISO 100
SIGMA 28-70mm F2.8 | C on Sony A7R III
47mm, 1/160s, F4, ISO 320

My first impression with the 28-70mm F2.8 DG DN | C in use was just how compact the lens is. At just a hair over one pound, it’s nearly half the weight of my next closest zoom, and even lighter than some of the prime lenses I often hike with. Covering a range of perspectives from wide to normal to short telephoto, I was able to shoot with greater flexibility in my compositions. Going through the images later on my computer, I was floored by the contrast and level of detail rendered from such a compact optic. It’s safe to say the 28-70mm F2.8 DG DN | C has earned a place in my kit.

Marc Farb – SIGMA Technical Representative

As a technical representative and working photographer, I always seem to have a full bag (or bags) of really heavy gear. Going out and shooting can be a good workout most of the time, and an armful of gear can also lead to lots of questions from curious photographers, even when I’m out with the family.

Well, on this particular weekend I took my wife and girls to a local garden at a historic mansion. I went armed with only one little mirrorless camera body and one lens… the 28-70mm F2.8 DG DN | Contemporary. All I can say is WOW! This new lens did not let me down. I was able to shoot all afternoon and never get tired of seeing the results, plus it was discreet and easy to carry. There is definitely something to be said for traveling light once in a while, and still having the right tools with you!

SIGMA 28-70mm F2.8 | C on Sony A7R III
70mm, 1/640s, F5, ISO 800
SIGMA 28-70mm F2.8 | C on Sony A7R III
28mm, 1/8000s, F3.2, ISO 800
SIGMA 28-70mm F2.8 | C on Sony A7R III
70mm, 1/6400s, F5.6, ISO 2000

Brett Wells – SIGMA Education Coordinator

There’s a time for a big lens (wildlife) and a time for fast, wide primes (night skies), but for a lot of other applications, it’s nice to have a compact, lightweight, sharp and versatile lens like the 28-70mm F2.8 DG DN | Contemporary. It’s a great match for today’s smaller, full-frame mirrorless cameras, or even APS-C cameras for that matter. The range is perfect for street photography, photojournalism, video, portraits, travel, and so much more. The optical quality and build quality are wonderful. Overall, it’s a great choice to leave on the camera most of the time.

SIGMA 28-70mm F2.8 | C on Sony A7R III
70mm, 1/100s, F11, ISO 400
SIGMA 28-70mm F2.8 | C on Sony A7R III
70mm, 1/80s, F11, ISO 400

Mike Hill – SIGMA Technical Representative

Have you ever decided to leave your camera at home and just enjoy a walk in nature? Inevitably those are the days that some amazing photo opportunity presents itself. “Oh great, there’s two eagles fighting over a snake backlit by a triple rainbow and all I have is a water bottle.” To the fair, that has yet to happen to me, but when it does I will be ready.

The compact and lightweight 28-70mm F2.8 DG DN | C attached to my Sony mirrorless camera is the ideal combination on long walking days. This lens offers the versatility of shooting things fairly wide at 28mm, like the fog-covered desert hills below, or with a bit of telephoto compression at 70mm. With the maximum aperture of F2.8, I was able to photograph my friend Ray playing disc golf even as the sun dipped below the horizon. I used only a small iPhone light behind the basket and the lights of the city to illuminate the scene.

SIGMA 28-70mm F2.8 | C on Sony A7R III
28mm, 1/1600s, F7.1, ISO 640
SIGMA 28-70mm F2.8 | C on Sony A7R III
70mm, 1/15s, F2.8, ISO 4000

Nick Vrona – SIGMA Marketing Specialist

I first tested out the 28-70mm F2.8 DG DN | Contemporary on a short walk to the Fire Island Lighthouse, just a short drive from the SIGMA America office. I arrived about an hour before sunset, and with the light fading quickly, the F2.8 maximum aperture quickly became indispensable for handheld shots. My lighting situation went from bright, directional sun, to deep orange diffused by bands of clouds, to twilight with vibrant blue hues. Having a lens with a wide aperture was crucial to keeping image noise to a minimum as the evening wore on.

Beyond its light gathering capability, its extremely compact size and light weight made it easy to carry around as I briskly went from one location to another. I didn’t even need a strap or a bag. I hand carried my camera for over two hours, and barely noticed it was there. The performance of the lens was also excellent, with swift autofocus even in dim conditions, superb image clarity, and a focal range that gave me enough flexibility to compose without having to climb into the sand dunes. Overall, this lens proved to be a great companion that I predict will spend a lot of time attached to my camera as my everyday lens!

SIGMA 28-70mm F2.8 | C on Sony A7 III
28mm, 1/125s, F2.8, ISO 100
SIGMA 28-70mm F2.8 | C on Sony A7 III
68mm, 1/1000s, F3.5, ISO 100
SIGMA 28-70mm F2.8 | C on Sony A7 III
60mm, 1/200s, F3.5, ISO 100
SIGMA 28-70mm F2.8 | C on Sony A7 III
28mm, 0.3s, F16, ISO 400

Aligning Sunsets & Sunrises for More Compelling Photos

Something that we can all relate to is the beauty of a memorable sunrise or sunset.  Everyone from beachgoers to the country sky — there’s always a sunrise and sunset somewhere nearby! But on the other hand, photographs of sunsets and sunrises can feel a bit repetitive if it’s nothing more than the sun disappearing beyond the horizon. By aligning the sun with landmarks, natural features and even yourself, you can take the basic sunset shot to a whole new level!

Sunset at the Iconic Statue of Liberty
SIGMA 60-600mm DG OS HSM | Sports on Canon EOS R5 – 600mm, 1/8000s, F16, ISO 100

Plan Your Shots Ahead of Time

Taking compelling photos of sunsets and sunrises is often about being in the right place at the right time, but you can’t leave that up to chance. Planning is essential, and without a solid plan, you might be heading home without the shots you envisioned.

Thankfully, modern technology has made the process of researching and scouting much easier, especially when it comes to the sun, moon and stars. I like to incorporate local skyscrapers and lighthouses into my sunset shots, so I take advantage of Google to look up the heights of buildings, and I use the PhotoPills app to find how the sun will align with these landmarks. Another app, Planit Pro, gives you a basic visual representation of where the sun will be. This is incredibly useful, and helped me nail this shot that was featured by National Geographic!

Planit Pro app (left) and the corresponding shot (right) featured by National Geographic as an editor’s choice for Nat Geo Your Shot
SIGMA 60-600mm DG OS HSM | Sports on Canon EOS R5 – 600mm, 1/2000s, F9, ISO 100

Of course, it helps to live near a metropolitan area where skyscrapers, statues and monuments are everywhere, or a beach town with lighthouses and shorelines, but if you don’t live in an area with any of the above? If you live in a more rural area, look for a farmhouse or some mountain tops. If you live near the desert, try to align the sun over a cactus, rock formation or other interesting natural landmark. Use your imagination, look closely at your surroundings, and you’ll be able to come up with some creative points of view.

SIGMA 14-24mm F2.8 DG HSM | Art on Canon EOS R5 – 17mm, 324s, F14, ISO 100 + ND filter + CPL
SIGMA 14-24mm F2.8 DG HSM | Art on Nikon D850 – 19mm, 1.6s, F16, ISO 100
Even if you can’t find a lighthouse, you can incorporate the foreground into your shot to complement a beautiful sun-drenched sky.

And even if you can’t think of something, there’s always that burning sky to look forward to. Check the forecast for high clouds and download some apps that predict an epic sunrise or sunset. It’s best to arrive 45 minutes prior to sunrise or sunset so you don’t miss that epic burn!

Statue of Liberty Burning Red Sunset
SIGMA 60-600mm DG OS HSM | Sports on Canon EOS R5 – 600mm, 1/15s, F6.3, ISO 100

Try a Self-Portrait with the Sun!

You don’t always have to align the sun with a structure or natural feature. You can incorporate yourself into the frame and take a creative self-portrait! For this image below, I knew that the sun was going to make its way over to the famous Empty Sky Memorial in Jersey City, NJ, and shine on the memorial.  I set up a timer and took a few shots.  It helps to have someone with you so you can make sure that you’re standing in the correct spot for your desired alignment.

SIGMA 24-70mm F2.8 DG OS HSM | Art on Nikon D850 – 24mm, 1/60s, F14, ISO 64

Tips for Shooting Into the Sun

You need to be careful while shooting into the sun. Make sure you’re using proper exposure so you don’t blow the sun out! It’s best to underexpose your image by a stop or so, that way, you can bring up your shadows and lower your highlights in post later. If you’re shooting at your camera’s fastest shutter speed and you’ve maxed out your aperture, try using a neutral density (ND) filter.

If you’re looking to capture a sunstar (aka sunburst) — like the images below — or just shooting directly into the sun, you can start with an aperture of F18 and work your way down to F22. You will be able to create a pretty interesting sunburst effect, which will look different depending on the number and shape of the aperture blades of the lens you’re using.

“Manhattanhenge” aka “Reversehenge”
SIGMA 70-200mm F2.8 DG OS HSM | Sports on Canon EOS R5 – 114mm, 1/500s, F22, ISO 100
Jennifer (@jmat24) takes a photo on a country road.
SIGMA 24-105mm F4 DG OS HSM | Art on Canon EOS R6 – 24mm, 1/80s, F20, ISO 100
Sunstars are fun to capture and create a very dramatic effect, but it does take some practice.

One more thing that I’d like to touch on, is if you’re seeing any smearing or ghosting on your sun images, try switching your camera to electronic / silent shutter. I discovered this issue on some mirrorless camera bodies. Additionally, if you’re shooting with a mirrorless camera or with a DSLR in live view, try to avoid aiming the camera directly at the sun for too long, since this can potentially cause damage to the sensor. I’ve personally never encountered any issues, but it is worth mentioning for safety’s sake.

Choosing the Right Lens for Sunsets and Sunrises

Telephoto Lenses

When it comes to telephoto lenses, my first choice is the SIGMA 60-600mm DG OS HSM | Sports. The reason I reach for this telephoto lens first is because I typically plot my shots where is subject is anywhere from 3 to 14 miles away! I often use the 60-600mm to take photos from this distance of the Freedom Tower at the World Trade Center, which is 1,792 feet tall. If I happen to have a closer vantage point, I’ll go with the SIGMA 70-200mm F2.8 DG OS HSM | Sports, which offers a larger maximum aperture for when the light starts to fade.

The other benefit of using a super telephoto lens is that I can achieve great compression as I zoom into the sun. The sun will get bigger and bigger as I zoom in closer (see images below). For example, if I’m plotting a lighthouse and its height is 50 feet, the sun is going to look very large in the frame as I zoom in to 600mm because the lighthouse is very small. In some cases, the sun can actually be larger than the subject! It all depends on the height and distance of your desired target.

SIGMA 60-600mm DG OS HSM | Sports on Canon EOS R5 – 600mm, 1/1000s, F9, ISO 100
SIGMA 60-600mm DG OS HSM | Sports on Nikon D850 – 600mm, 1/1000s, F9, ISO 64
The huge compression provided by a 600mm focal length can make the setting sun (or the rising moon) seem enormous compared to its surroundings.

Wide-Angle and Standard Zoom Lenses

The SIGMA 14-24mm F2.8 DG HSM | Art, SIGMA 24-70mm F2.8 DG OS HSM | Art and the SIGMA 24-105mm F4 DG OS HSM | Art are primarily used to capture basic sunrises and sunsets over a beach, lighthouse or a country scene. In these cases, I’ll choose a wide-angle lens so I can capture as much of the foreground elements as possible. There might be rocks, sand, or something appealing to have in my composition.

However, a standard zoom lens covers a lot of ground as you zoom in closer to your subject, and may work better for certain compositions. In some cases, I’ll have a foreground that looks too busy to the eye at 24mm, so I’ll zoom in to concentrate on the subject and the sun. It’s always best to try both your wide-angle and standard zoom lenses to compare the differences while you’re out on your adventure.

Portland Head Lighthouse Sunrise with a variety of foreground elements included
SIGMA 24-105mm F4 DG OS HSM | Art w/ 3-stop ND filter on Canon EOS R5 – 46mm, 1/13s, F22, ISO 100

Final Thoughts

Capturing the perfect sunset or the ideal alignment with an iconic landmark can be tough, and it’s a very competitive area of photography. There’s certainly a lot of talented photographers out there. But don’t be discouraged, and don’t worry so much about who else might have that same image!

Research your local geography, learn from other photographers, and most importantly, shoot as much as possible. With practice, knowledge and creativity, you’ll be able to capture truly unique alignments and compositions that help your photos stand out from the rest.

World Trade Center Sunrise
SIGMA 60-600mm DG OS HSM | Sports on Nikon D850 – 600mm, 1/1250s, F9, ISO 64

First Look: SIGMA 28-70mm F2.8 DG DN Contemporary Lens

Zoom lenses are perhaps the most versatile tools a photographer can own, providing the flexibility to shoot at a range of focal lengths – all with different optical characteristics – without ever removing them from the camera. Of course, that flexibility usually comes with noticeable tradeoffs, and photographers are often left with lenses that are lacking in one area or another. But what if there was a versatile, compact, lightweight, full-frame lens with spectacular optical capability that was built to extremely high standards and didn’t break the bank? Good news! SIGMA just made one.

The latest full-frame zoom lens from SIGMA

The new SIGMA 28-70mm F2.8 DG DN | Contemporary lens is the standard zoom lens that full-frame mirrorless shooters have been waiting for. Designed to meet the demands of professionals while offering compactness that gives it “everyday lens” status, this new 28-70mm lens will find a happy home on the front of many L-mount and Sony E-mount camera bodies.

The SIGMA 28-70mm F2.8 DG DN | C is a compact powerhouse mounted on the SIGMA fp.

What makes the SIGMA 28-70mm F2.8 DG DN | C stand out?

Let’s take a look at some of the features that make this new 28-70mm so appealing:

  • Compact and lightweight, perfect for everyday use and travel.
  • A fast maximum aperture of F2.8, providing consistent low-light capability from 28mm to 70mm.
  • SIGMA Art-level optical performance, with incredible sharpness throughout the focal range.
  • Gorgeous bokeh rendering that softly blurs the background and brings your subjects to life.
  • Dust and splash-proof mount with water and oil-repellent front lens coatings for worry-free use and maintenance.
  • Short focusing distance (magnification ratio of 1:3.3 at 28mm, 1:4.9 at 70mm) for close-ups of just about anything.
SIGMA 28-70mm F2.8 DG DN | C on Sony A7R IV. 30mm, 1/200s, F2.8, ISO 640. (photo by Meg Loeks)
SIGMA 28-70mm F2.8 DG DN | C on Sony A7R IV. 33mm, 1/160s, F2.8, ISO 1000. (photo by Meg Loeks)

SIGMA Ambassador Meg Loeks, a longtime professional family photographer and educator, normally works with prime (single focal length) lenses for their sharpness and unique character. However, she has recently found a place in her bag for the SIGMA 28-70mm F2.8 DG DN | C zoom lens:

“Moments are fleeting, especially with little children. I love that with a zoom lens I can quickly capture our everyday lives with ease. Very little movement on my end is required when I can easily change my focal length. I can simply be present with my children and document them as they are.”

– Meg Loeks
With an F2.8 maximum aperture from wide-angle to portrait length, the SIGMA 28-70mm F2.8 DG DN | C gives photographers the flexibility to shoot in challenging lighting conditions.

A Compact Lens That Fits Your Life

With all the glass elements and metal involved in their production, F2.8 zoom lenses usually end up being a bit on the hefty side, not to mention somewhat expensive.

This SIGMA 28-70mm, however, weighs a mere 16.5 ounces and is just 4 inches long, so not only does it fit in any camera bag, it’s the perfect lens to have attached to your full-frame mirrorless camera for everyday use. Thermally Stable Composite (TSC) construction makes it lightweight yet solid, making it a pleasure to hold and operate, even for extended shooting sessions.

This full-frame SIGMA 28-70mm F2.8 is the smallest and lightest lens in its class.
The lens features a lightweight barrel, plus a solid brass mount with a weather-sealing gasket.

In addition to the compact size, this lens features a splash and dust-proof mount, a water and oil-repellent coating on the front element, a petal-shaped lens hood, and like all SIGMA lenses, a 4-year US warranty. It’s the kind of lens you can use every day and feel confident about for years to come.

Because I’m on the go a lot with my children, I need gear that’s small and light. I get that and so much more with this lens. Not only is it compact in size and lightweight, the quality of images I’m able to produce is incredible. I get the best of both worlds with this lens. It’s practical for everyday use and tack sharp.

– Meg Loeks
Practical and affordable, the SIGMA 28-70mm F2.8 DG DN | C is an everyday tool that delivers great results.

Image Quality That Rivals Art Line Lenses

SIGMA’s Contemporary line gives photographers more than just more affordable options. The line is designed to strike a balance of superb image quality and day-to-day usability. True to our mission, the SIGMA 28-70mm F2.8 DG DN | C finds that balance and delivers outstanding sharpness and renders beautifully soft, natural-looking backgrounds.

SIGMA 28-70mm F2.8 DG DN | C on Sony A7R IV.
70mm, 1/320s, F2.8, ISO 100. (photo by Meg Loeks)

SIGMA’s lens designers also paid extremely close attention to flare control, anti-ghosting, and autofocus performance, all of which benefit from our years of in-house engineering experience and “Made in Japan” quality control.

“One of the things I really appreciate about this lens is how sharp it is no matter the focal length or proximity to my children. Then there’s the dreamy bokeh I’m able to achieve, especially shooting wide open at 70mm. Whether I’m near or far, shooting wide open or in a low-light setting, this lens is able to quickly grab focus without fail every single time.”

– Meg Loeks

The Standard Zoom Lens That’s Anything But Standard

If our 24-70mm F2.8 Art lenses have shown us anything, a “standard” zoom lens is more than just a camera bag staple… it gives photographers the opportunity to capture fleeting moments and to express their art in virtually any situation. However, more and more photographers have also begun to value convenience and compactness, and that’s where the SIGMA 28-70mm F2.8 DG DN | C comes in.

Whether you shoot with our own SIGMA fp, a Sony E-mount camera, a Panasonic LUMIX S, or a Leica body, the SIGMA 28-70mm F2.8 DG DN | C is a lens that will help photographers achieve their creative vision day in and day out, thanks to its combination of exceptional performance and practical dimensions. The SIGMA 28-70mm F2.8 DG DN | Contemporary lens will be available for E-mount and L-mount systems in March 2021. Pre-order yours at an Authorized SIGMA Dealer or learn more at sigmaphoto.com.

From the living room to the back yard, the SIGMA 28-70mm F2.8 DG DN | Contemporary can capture virtually everything with ease.

Secret Techniques for Close-Up Bird Photography with SIGMA Lenses

I have an infinite love for nature, birdwatching and especially for capturing photos of birds. One morning, while watching birds at my backyard feeder, I came up with an idea… What if I can get closer to them without them knowing I am there?

Usually, bird photographers (including myself) use large telephoto lenses to take pictures of birds from a distance. But with this technique, I can photograph tiny birds with nearly any standard lens and get incredible detail in my images from just a few feet away. Best of all, the technique I use to get much closer to small birds can easily be achieved by anyone, and the materials are easily accessible.


SIGMA 85mm F1.4 DG HSM | Art lens on Nikon Z7 II w/ FTZ Adapter
Black-capped Chickadee, full of personality and curiosity.

SIGMA 24-70mm DG OS HSM | Art lens on Nikon Z7 II w/ FTZ Adapter
The Blue Jay belongs to the Corvid family (which includes crows and ravens). These medium-sized birds will show up, loudly, and guzzle up seed. They may be beautiful but are not nice to smaller birds.

Setting Up a Backyard Bird “Studio” from the Comfort of Home

My method for getting close to backyard birds is relatively simple, but it does take a bit of DIY skill and a few important items:

  • An in-window bird feeder (or create a simple plywood box that fits in your window)
  • Various branches of all thicknesses (or set up near a bush or tree)
  • A piece of acrylic 2-way security glass (easy to find on Amazon)
  • A hole saw or jig saw with a fine-tooth blade for cutting a hole in the security glass
  • Black oil sunflower seed (a favorite for a wide range of bird species)

I decided to set up my bird station in my second-story window, off my office space. This way I can photograph the birds from the comfort of my own home!

This setup is really no more than a wooden box with a sheet of 2-way acrylic glass, but it works wonders for photographing small birds.

First, you’ll need a place for the birds to land and eat. I purchased an in-window bird feeder and modified it to my needs, although you can certainly create a simple feeder box using plywood. Keep in mind you will need to access the inside of the box from time to time, so make sure the top can be removed.

Next, you will need a pane of two-way acrylic glass to stay out of sight. These are readily available on Amazon. Make sure it is mirrored… the idea is that you can see the birds, but they can NOT see you!

Of course, you will also need to cut a hole in the pane for your lens. I used a hole saw to cut mine. It can be a bit tricky, but if you are patient, apply even pressure and let the saw do the cutting, you will avoid cracking or damaging the pane. Don’t forget to save the piece that gets cut out as you can use this to cover the hole when not in use. I cover up the hole with this circle of acrylic and a strip of shipping tape in between shoots.

A view from the outside of my feeder with various branches attached (and a lens peering through the hole in the two-way glass).

I attached the feeding station in a window that is sheltered from the strongest winds and high off the ground. This way it is not easily accessible to predators and is a safe haven for small birds. I then chose different varieties of branches that appeal to me, which I found in my yard. I personally like wild rose branches as they have thorns and red berries, pine branches to add greenery, and maple tree branches, all with varying thicknesses. I arrange the branches and overlap them until they are aesthetically pleasing to me. The bigger branches were screwed into the feeding station’s base easily with a drill gun, for support. The lighter ones draped over the top. The branches give a natural feel to the images, as well as making the birds feel right at home at the feeder.


SIGMA 85mm F1.4 DG HSM | Art lens on Nikon Z7 II w/ FTZ Adapter
An American Tree Sparrow waits its turn at the feeder. Branches come into play here for grabbing great shots when birds wait their turn at the feeding station.

Choosing the Right Equipment for Close-Up Bird Photography

The next thing you’ll need is a camera and a suitable lens. I usually shoot with a Nikon D800 or a Nikon Z7 II (with the FTZ adapter for my F-mount lenses). My favorite SIGMA lenses for up-close bird portraits are the 85mm F1.4 DG HSM | Art and the 24-70mm F2.8 DG OS HSM | Art.


SIGMA 85mm F1.4 DG HSM | Art lens on Nikon Z7 II w/ FTZ Adapter
A beautiful Mourning Dove, known as such because of its sorrowful call. If you look closely, the Mourning Dove has a lovely blue ring around its eye.

I love the large aperture of the 85mm F1.4 Art, and the short telephoto focal length on a full-frame camera gives me great separation of birds from the background. The 24-70mm F2.8 Art, on the other hand, gives me a wider angle which lets me capture the birds as they land or take off, capturing their entire wingspan. Both lenses provide a fast aperture that allows me to shoot at fast shutter speeds even on cloudy, wintery days, without issue.


SIGMA 24-70mm DG OS HSM | Art lens on Nikon Z7 II w/ FTZ Adapter
A Black-capped Chickadee launches into flight. A lens with a slightly wider angle of view and a fast maximum aperture — like the 24-70mm F2.8 Art — makes shots like this possible.

The other necessary piece of photography equipment is a tripod.  Handholding a camera while waiting for birds can become very tiresome, and any movement from such a close distance will scare the birds away, and it will take some time for them to feel safe enough to return.

My go-to setup. A SLIK Sprint 150 tripod with ball head, Nikon D800 with SIGMA 24-70mm F2.8 | Art attached, a Nikon Z7 II with SIGMA 85mm F1.4 DG HSM | Art attached (w/ FTZ Adapter), and of course, plenty of black oil sunflower seed!

Shooting Great Bird Photos from Inches Away

Once my box is all set up, my camera is mounted on my tripod and the front of my lens is resting securely in the hole of the feeder, then comes the hardest part… waiting. Thankfully, it doesn’t take long as birds absolutely LOVE sunflower seeds!

I prefer to use black oil sunflower seed specifically as it attracts the greatest variety of birds and deters the less favorable ones. Black oil sunflower seed also has a much greater nutritional value for the birds than cheaper mixed seed. It is high in protein, fiber, calcium, vital vitamins and minerals, which are especially important during the winter months. And in turn will have birds seeking out the feeder. This all sounds expensive, right? Nope! You can buy a HUGE 50-pound bag of black oil sunflower seed for around 20 bucks!

Most backyard birds are active year round in the morning and late afternoon. However, during the winter months, food is scarce, so they visit the feeder all day! Small birds tend to travel in groups and arrive at the feeder together, which provides the opportunity to photograph many different varieties of birds.


SIGMA 85mm F1.4 DG HSM | Art lens on Nikon Z7 II w/ FTZ Adapter
The Purple Finch’s color is striking against the snowy landscape.

It’s also important to think about how lighting will affect your photos. The lighting will constantly change from dawn until dusk, so consider where the sun will be positioned when installing your feeder and when deciding what time of day to shoot.


SIGMA 85mm F1.4 DG HSM | Art lens on Nikon Z7 II w/ FTZ Adapter
The American Tree Sparrow is an entertaining feeder, albeit messy. They tend to scratch and throw about the seed before deciding which to eat!

So how about settings? Your aperture, shutter speed and ISO are especially important when photographing such fidgety subjects. Small birds tend to dart about and take off in the blink of an eye. Considering how fast they move and scarce sunlight during prime feeding hours, your camera settings are especially important in capturing quality images of your feathered friends.

The SIGMA lenses I mentioned before — the 85mm F1.4 DG HSM | Art and the 24-70mm F2.8 DG OS HSM | Art — allow me to achieve my preferred settings, and the stellar image quality of the Art line glass brings out every last detail. For the best, sharpest images, and to keep the separation between my subject and the background, I usually work with the following settings:

Aperture

For bird photos, my favorite apertures are from F2.8 to F5.6. Even though a large aperture like F1.4 can be tempting, if you shoot wide open on a bird at close range, you will probably find that your bird’s beak or eye will be in sharp focus, while the rest of its body will be blurred due to the shallow depth of field. Play around with your aperture, but a good rule of thumb for small birds at a close distance is to stay within the F2.8-F5.6 window.


SIGMA 85mm F1.4 DG HSM | Art lens on Nikon Z7 II w/ FTZ Adapter
The Dark-eyed Junco are small, spirited birds. When my kids were younger, we’d call them “Oreo birds” due to their black and white coloring.

ISO

Setting your ISO can be somewhat tricky as light begins to fade or clouds start rolling in… you might find yourself bumping it up! With some cameras, higher ISOs are not a huge deal, but image noise can really ruin the fine detail of those tiny feathers, so be careful. Depending on light available, my preferred range is ISO 200 to ISO 1000, but I tend to stay right around ISO 400 for birds in general.


SIGMA 85mm F1.4 DG HSM | Art lens on Nikon Z7 II w/ FTZ Adapter
An American Goldfinch in its winter plumage. In the Spring/Summer the males molt into their brilliant yellow feathers while the females remain a more olive yellow.

Shutter Speed

In general, I would say the faster the better, especially if you want to capture full wingspans as they prepare to land or take off! However, small birds taking flight are incredibly difficult to capture this close up. They literally jump and are gone in a flash! With a very fast shutter speed around 1/1600, you may be able to capture these split-second moments.

In general, I shoot around 1/500 second, which ensures that I get sharp images of these fast-moving creatures, but still let in enough light to expose the image properly.

Speaking of shutters, a silent shutter option is a great way to avoid scaring birds away, especially if you plan on shooting continuous bursts of photos. If your camera has this feature, take advantage of it!


SIGMA 24-70mm DG OS HSM | Art lens on Nikon Z7 II w/ FTZ Adapter
With a quick shutter speed and a bit of patience, you never know what you will capture! Maybe this Blue Jay is tired of all the snow?!

Remember, there is no one special recipe that works for capturing all birds. The above settings are my general rules of thumb, but you will need to fine-tune your aperture, shutter speed and ISO depending on your camera, lens, personal preferences and unique conditions.

A True Challenge With Rewarding Results

The reason I love bird photography in particular is due to the ever changing movement of the subject, lighting and conditions in front of me. I love a good challenge, and it doesn’t get much more challenging than birds! It forces me to delve into my camera’s settings and figure out which formula I want to use to freeze their movements, while obtaining a great composition and lighting. It forces me to think FAST, sometimes with seconds, how to grab an image and do so accurately. It is beyond rewarding when I look at the series of shots I captured and I have the exact images I needed and wanted. The elation I feel is beyond words. I encapsulated a beautiful moment in nature that I am able to share with the world.

With a little ingenuity, the right gear, a bit of knowledge and a whole lot of patience, you too can achieve epic bird images that you will be proud to showcase!


SIGMA 24-70mm DG OS HSM | Art lens on Nikon Z7 II w/ FTZ Adapter
The robust Black-capped Chickadee sits patiently among evergreen branches.
Capturing gorgeous bird photos from the comfort of home begins with a few affordable items and some simple gear. Give it a try!

One-Lens Hiking Adventure with the SIGMA 24-70mm F2.8 DG DN | Art

I received a call a few weeks back from my ski partner Gary who was looking to do an overnight backpacking trip before winter inevitably sets in.  But this was not going to be a standard backpacking trip. Gary was looking to summit his last two 13,000-foot peaks in Eagle County, Colorado. A trip like this means heavy packs and lots of off-trail travel, which is something I like to call… fun!

Packing for a trip like this can be challenging. You want to keep your pack light but also have everything you need. For me, the biggest factor would be my photo kit. Typically on photo-driven backcountry missions, I bring all the photo gear I need to make the best images possible. But this trip was going to be all about moving fast through the wilderness. So I made the decision to bring just a single lens, the SIGMA 24-70mm F2.8 DG DN | Art. Why? Because this fast aperture, lightweight lens delivers everything I could possibly need. It’s wide enough at 24mm to frame the whole story, yet the 70mm zoom gives me the telephoto reach I need.

SIGMA 24-70mm F2.8 DG DN | Art – 24mm, 1/4000s, F7.1, ISO 800
Adventure trips to the alpine should be done light and fast.

To keep things even lighter, I opted to leave my tripod at home, so I would be handholding all my low-light shots. Also, the DG DN (full-frame, made for mirrorless) lenses pair perfectly with my Sony A7 III camera, so there was no need to bring a converter which kept my pack that much lighter. Of course, if I were shooting with a DSLR, the SIGMA 24-70mm F2.8 DG HSM | Art would be an equally good choice, but for this trip, I went with the smaller mirrorless camera to save space.

SIGMA 24-70mm F2.8 DG DN | Art – 41mm, 1/320s, F8, ISO 640
Keeping your pack light makes for more productive shooting.
SIGMA 24-70mm F2.8 DG DN | Art – 24mm, 1/200s, F4.5, ISO 400
At 24mm, the lens is well-suited to wide-angle shots like this bug’s eye view of the hike.

We got to the trailhead sometime around noon. Packs loaded, we hit the trail with the goal of finding camp seven or eight miles upriver. Immediately, the beauty of the trail hit us squarely in the senses. The entire forest was glowing in different hues of yellow and orange, while lime greens and bright reds rounded out the color palette. The canopy was peaking, the ground cover was peaking, everything was peaking… and we had not even summited yet!

SIGMA 24-70mm F2.8 DG DN | Art – 39mm, 1/100s, F5.6, ISO 1250
Autumn light was stunning in the aspen forest.
SIGMA 24-70mm F2.8 DG DN | Art – 25mm, 1/400s, F4.5, ISO 640
The nice close focusing distance of the 24-70mm F2.8 DG DN | Art made for beautiful detail shots along the trail.

Another reason I chose to bring the SIGMA 24-70mm F2.8 DG DN | Art is for its image quality. The color rendition is exactly what I look for in a professional lens… true to life. Also, the contrast of the lens gives images an almost three dimensional quality and it almost seems like you could walk into the picture. Additionally, the weather sealing of the lens gives me confidence in the field. I am not worried about a little dust or a bit of moisture wrecking my shoot.

SIGMA 24-70mm F2.8 DG DN | Art – 28mm, 1/160s, F7.1, ISO 1000
A gorgeous scene along the river.

How did I carry everything? Simple. On my back was my trusty Osprey Atmos AG 65 Litre pack into which all my food and camping gear would go. For my camera, I used the Think Tank pack that attaches right to my chest, which made it easy to get shots as we travelled down the trail.

Me on top of Mt. Jackson showing how I carry my camera in the front pack. Photo: Gary Fondl

Just as our backs and feet began to protest, we found a spot to camp. I peeled off my boots, unfurled my sleep kit and made some grub. Camp chores done, we nipped a bit of whisky and explored the creek nearby. Stars popped out one by one until dark clouds slowly enveloped them. As I dozed off to sleep, it sounded like the stars themselves were dropping from the sky as tiny raindrops pitter-pattered down my tent fly.

 SIGMA 24-70mm F2.8 DG DN | Art – 25mm, 1/160s, F4.5, ISO 1000
Yum yum, dinner is served.
SIGMA 24-70mm F2.8 DG DN | Art – 24mm, 1/100s, F8, ISO 1000
Evening in camp.

The plan was to head northwest up a drainage, catch a ridgeline and then ascend Mt. Jackson (13,675 ft.) and unnamed peak (13,433 ft.) just to the south of Jackson. As we scrambled around way up through the steeps, we began to realize we were off route. Not to worry. All we needed to do was catch the ridgeline and then we could make our way north to Mt. Jackson. We ascended Mt. Jackson in a brisk wind and opted not to linger on the summit. We descended to a col (the one we should have come up) and then looked up at point 13,433. This is Gary’s last 13-er in Eagle County, so up he goes. I, on the other hand, basked in the sun and lunched on salami, cheese and crisp, sweet-tart apples.

SIGMA 24-70mm F2.8 DG DN | Art – 64mm, 1/2500s, F7.1, ISO 800
Hiking up 13,675 ft. Mt Jackson. No photos were set up on this trip, it was all shot from the hip.

Since we would be climbing down a different route than we ascended, there would be plenty of route-finding for us, meaning one thing… it would be a long afternoon. The terrain was steep and strewn with cliffs. We went slow and safe. At one point Gary stopped and pointed. A massive bull elk strutted across a small opening just in front of us. Before I had time to get my camera out, he’d vanished into the forest like an apparition.

SIGMA 24-70mm F2.8 DG DN | Art – 70mm, 1/160s, F8, ISO 640
Moose will eat soft aspen bark in winter. At 70mm, the lens was able to nicely compress this tree with the others in the background making for a quick visual story.

After a tough descent, we were back in camp. We packed up all our gear and began the second part of the day, the long hike back to our truck. My legs were weary, but the scenery propelled the spirit as the sounds and smells of a Colorado fall day permeated to my core. The sun set and we fished out headlamps to make our way through the dark. Eventually, we found the truck, marking an end to a memorable twelve-hour day of moving through mountains.

SIGMA 24-70mm F2.8 DG DN | Art – 24mm, 1/4s, F2.8, ISO 6400
Just a few miles of hiking in the dark. Shooting handheld, the fast F2.8 aperture was critical for this shot.

The SIGMA 24-70mm F2.8 DG DN | Art lens was a fantastic choice for this adventure. Light and fast was the name of the game for both hiking and photography, and that’s exactly what I got with this lens. Then next time you head out for an adventure, big or small, I would encourage you to bring this lens with you. You’ll appreciate the simplicity of a single lens and love the image quality it delivers. See you on the trail!

SIGMA 24-70mm F2.8 DG DN | Art – 42mm, 1/60s, F18, ISO 4000
One lens to rule them all!

Team Tests: SIGMA Staff Tries Out the 100-400mm DG DN OS Contemporary

SIGMA Corporation of America is, in many ways, like most small companies here in the U.S. Our sales and accounting department crunches the numbers; our warehouse team lifts, packs, wraps and ships inventory; our marketing folks do their best to move units out the door. And coffee always tends to run out at the most inopportune time.

But while our day-to-day duties might seem pretty typical for an American office, there is one thing that makes us a bit different… almost everyone is a photographer!

No, we’re not all pros. But from the head honcho himself to the team of tech reps visiting your favorite photo dealers nationwide, our staff has a real appreciation for the art and science of photography. So when some samples of the new 100-400mm DG DN OS | Contemporary arrived from Japan this summer, the SIGMA crew jumped at the chance to take our work home with us and shoot with this lightweight telephoto zoom. Here are some of our favorites!

Brian Linhoff — SIGMA Technical Representative

The SIGMA 100-400mm DG DN OS | Contemporary is the lens I have been dreaming about for a while: small for the focal range, lightweight and compact with fast focusing and amazing sharpness. It’s the telephoto lens that always finds its way into your bag!

The focusing speed is great. I was able to capture my favorite subject of late, our new puppy Texas, sprinting around the back yard. Focus tracking was fast and accurate with the Sony A7R III. I was even able to use Sony’s animal eye detection, which worked perfectly.

SIGMA 100-400mm DG DN | C on Sony A7R III
Texas the dog runs around the back yard.
SIGMA 100-400mm DG DN | C on Sony A7R III
Texas the dog runs with a tennis ball.

Of course, the new 100-400mm is available for L-mount, too, along with 1.4x and 2x teleconverters. I was able to use the 1.4x Teleconverter and the 100-400mm — mounted to a Panasonic Lumix S1R — and use autofocus to shoot the moon. I was able to pick out the various craters on the moon with no problem, and the teleconverter did not effect the image quality of the 100-400mm at all.

SIGMA 100-400mm DG DN | C + 1.4x Teleconverter on Panasonic S1R

Aaron Norberg — SIGMA Technical Representative

When out shooting landscapes, longer focal lengths can be very handy in those instances when you want to fill the frame with the details of a smaller or more distant subject. With the size and weight of most lenses that reach beyond 100mm, I often have a difficult time justifying bringing one along unless I know there’s a specific shot I’m after, or I know I’m going to be primarily shooting from the car and won’t have to wander far. With the compact dimensions and light weight of the SIGMA 100-400mm DG DN OS | Contemporary, however, I finally have a super-telephoto lens that I don’t mind hiking with just in case an opportunity for a longer lens presents itself.

SIGMA 100-400mm DG DN | C on Sony A7R III
Looking north towards Mount Saint Helens from the Gifford Pinchot National Forest.

The variety of perspectives offered by this range makes a great complement to a wider zoom lens like the 14-24mm DG DN Art, and the image quality it delivers stands up to what I’ve become accustomed to with Art series lenses. With this pair of lenses, I can cover just about any scene I might discover without needing to overload my pack with photo gear.

SIGMA 100-400mm DG DN | C on Sony A7R III
Looking westward down the Columbia River Gorge from Dog Mountain.

Marc Farb — SIGMA Technical Representative

As a sports / fast action photographer, the new SIGMA 100-400mm DG DN OS | Contemporary is a tremendous addition to my bag. I have always leaned toward traditional DSLR cameras because focus systems and frame rates were always better than mirrorless cameras in the past, but the new crop of mirrorless cameras have really made strides, and AF systems are just as robust as mirror boxed cameras.

SIGMA 100-400mm DG DN | C on Sony A7R III
Raceway Park in Englishtown, NJ, practice track.
SIGMA 100-400mm DG DN | C on Sony A7R III
Raceway Park in Englishtown, NJ, practice track.

This is a game changer for me. Now I have a smaller, lighter camera and a lens that is optically designed to make it work beyond expectations. Its splash-proof design, new electronics and new optical design make this lens one I can’t live without. It has a great minimum focus distance, it’s light, and the wicked fast focus helps to produce tack sharp images in some of the worst shooting conditions. This should be on the top of your list of next lenses to purchase.

SIGMA 100-400mm DG DN | C on Sony A7R III
Raceway Park in Englishtown, NJ, practice track.

Brett Wells — SIGMA Education Coordinator

I’ve always loved the 100-400mm DG OS HSM | Contemporary. It has been in my camera bag with a DSLR body since it was released. This new SIGMA 100-400mm DG DN OS | Contemporary mounted on a full-frame mirrorless body makes for an even lighter package. The image quality and versatility is incredible. It has been a joy shooting with this lens on my Sony A7R III, as well as the SIGMA fp! I can’t wait to test it out some more and try it with the new L-mount teleconverters, too.

SIGMA 100-400mm DG DN | C on SIGMA fp
SIGMA 100-400mm DG DN | C on SIGMA fp

Mike Hill — SIGMA Technical Representative

The new SIGMA 100-400mm DG DN OS | Contemporary lens has changed my thinking when it comes to packing my camera bag. I have always opted to pack a wide angle and prime first, which left very little room for a big telephoto to bring on trips and hikes. This 100-400mm lens fits in my bag like a 70-200 and is so lightweight that it’s easy to shoot with around the city or out in nature.

SIGMA 100-400mm DG DN | C on Sony A7R III
Hummingbird worries about life.

Since putting this lens on my Sony A7R III, it has become the first lens I pack for a trip. I’ve started to enjoy the practice of trying to compose far away objects, and the optical stabilization works incredibly well while framing your subject.

SIGMA 100-400mm DG DN | C on Sony A7R III
Red Rock Canyon, Las Vegas, NV.

Jack Howard — SIGMA Public Relations Director

Even as I was writing about the the lens and the teleconverters in pre-release information packages and for my First Look piece, it wasn’t until I first held the L-mount version of the 100-400mm DG DN OS | Contemporary plus the 2x teleconverter in my hands that I fully grasped the full potential of this long-reach, lightweight combination.

This is fully operational autofocus to 800mm that weighs under four pounds when paired with a camera! Compare this to the legendary “Sigmonster”, the 300-800mm F5.6 supertele zoom lens, which weighs in at a whopping 14 pounds.

SIGMA 100-400mm DG DN | C + TC-2011 2.0x teleconverter on Panasonic Lumix S1R.
A juvenile herring gull stands along the shoreline of Sandy Hook Bay, Middletown, NJ.
SIGMA 100-400mm DG DN | C + TC-2011 2.0x teleconverter on Panasonic Lumix S1R.
A piping plover chick runs on the sand at the point of Sandy Hook, Middletown, NJ.

This is portable supertele reach. This is a truly hand-holdable combination. This allows for long-reach photography in a much more manageable package which can genuinely democratize supertele photography.

True, the maximum aperture at 800mm is F/13, but this is a tradeoff I am more than willing to make with pretty much every L-mount camera currently available — as the high ISO performance of the SIGMA fp and the Panasonic S1R is more than acceptable for a 2 ISO stop drop compared to even the best DSLRs from the mid ’00s when the Sigmonster ruled the long-reach universe. ISO 3200 is the new 800, thanks to significant advances in sensor design and imaging processing.

Without a doubt, this is primarily a daylight/spotlight lens combination; but that it can do this, and that does it for a fraction of the size and weight of the solutions of yesteryear is flat-out amazing.

SIGMA 100-400mm DG DN | C + TC-2011 2.0x teleconverter on Panasonic Lumix S1R.
800mm, 1/400, F13, ISO 3200, OS1 activated.
A whitetail deer with velvet-coated antlers eyes the photographer as it munches on vegetation on the western slope of the First Watchung Mountain.

Nick Vrona — SIGMA Marketing Specialist

For years, I’ve been without an ultra-telephoto lens for my full-frame Sony camera, due to the expense or size of existing options. But once the SIGMA 100-400mm DG DN OS | Contemporary was released, I just had to have it! For a lens with this kind of range, it’s incredibly lightweight and maneuverable, and it feels great mounted on the A7 III… just the right balance in my hands and perfectly comfortable hanging at my hip. Combined with the 24-70mm F2.8 DG DN | Art, I have all I need for virtually any situation, especially outdoors.

SIGMA 100-400mm DG DN | C on Sony A7 III
Windsurfer enjoys the waves near Long Island.
SIGMA 100-400mm DG DN | C on Sony A7 III
Boy runs down beachside trails at sunset.

And when it comes to image quality, the 100-400mm DG DN is hard to beat. It’s sharp at any focal length (even at 400mm with the excellent OS), and autofocus performance is fast and dead-on accurate. All in all, this 100-400 is the most “fun” lens I’ve ever owned, and well worth the low price of admission.

Brian Matsumoto — SIGMA Technical Representative

The new SIGMA 100-400mm DG DN OS | Contemporary lens has become a fantastic new tool in my camera bag. In the past, I would have never considered a 100-400mm lens for photographing flowers or other close-up work. However, the new 100-400mm DG DN with its ability to reproduce one quarter life-size has changed my thought process in terms of macro work.

SIGMA 100-400mm DG DN | C on Sony A7R III
SIGMA 100-400mm DG DN | C on Sony A7R III

The longer working range of the lens and the close focus ability along with great bokeh has allowed me to make some images that I would have never seen with a shorter focal length macro lens. In addition, the light weight of this lens makes it easy to use and carry around. This lens is super sharp, and the only limitations of this lens are my own photographic skills.

Hands-on Review: Shooting Arena Polo with the SIGMA 70-200mm F2.8 DG OS HSM | Sports

The 70-200mm F2.8 DG OS HSM | Sports lens has been in most pros’ arsenals seemingly since the beginning of time.  One reason is because it offers an ideal zoom range for a wide range of subjects. The constant F2.8 aperture is another plus.  But the biggest advantage is the sharpness and build quality that traditionally marks it as a pro lens. 

70-200mm lenses are relatively short zooms ideal for action sports events, and given a relatively small field, hockey rink or a basketball / volleyball court, they will allow you to get right into the action.  Even on larger fields like football, soccer or, in my case, polo and rugby, if you can access the sidelines, a 70-200mm lens has plenty of reach to get you into action on the other side of the field, especially if you use a crop-sensor camera.

SIGMA 70-200mm F2.8 DG OS HSM | S on Nikon D500 / 70mm, F4, 1/1250 sec., ISO 1000

Features of SIGMA’s 70-200mm F2.8 DG OS HSM | Sports lens

All the major lens manufacturers have made great 70-200s including SIGMA, but SIGMA’s “Global Vision” generation 70-200mm F2.8 DG OS HSM | S is seriously built to take the abuse that us sports photographers routinely put our equipment through.  It’s weather sealed, solid (yes it’s built like a tank) and has very fast and accurate focus.  This lens is sharp too, just as sharp as any other 70-200 I’ve ever seen, all at a price point below the competition.  As soon as this lens was released, I began to see lots of stellar feedback from all the major reviewers.

The lens has several controls and features built in that add value to an already brilliant lens. The control switches are set on the left side of the lens inside a low-profile bump that protects the switches, but doesn’t get into your way when shooting.  The 4 switches include:

  • Focus: Auto / Manual / Auto w/ Manual Override
  • Focus: Full / 3m-infinity
  • Optical Stabilization: OFF / OS1 / OS2
  • Custom: OFF / C1 / C2 (programmed with the USB Dock)

The lens also has a set of 3 programmable buttons set 90 degrees apart between the focus and zoom rings.  As I normally either use D25 or GRP focus on my Nikon D500, I programmed them to spot focus so that I could quickly get an accurate, tight focus when my subject was partially blocked by other players. When the button is pressed, the programmed setting is activated.  When you release the button, the camera goes back to its original setting.

The SIGMA 70-200mm F2.8 DG OS HSM | Sports has a couple more cool features that add additional value.  A built-in Acra Swiss compatible foot is included that allows you to attach the lens directly to a compatible tripod.  The attached collar allows the foot to rotate 360 degrees, which isn’t uncommon, but there are stops every 90 degrees which is a great help when you’re shooting from a tripod or monopod and need to quickly switch orientation of the camera.  The foot isn’t integrated into the collar either… four bolts allow you to remove the foot if you wish.  Finally, every lens has a hood which basically twists on with a quarter turn.  This hood is so much easier to put on and take off than any other lens I’ve used.  With an easy quarter turn it locks in place.  To remove the hood you push a small button to unlock the hood and it’s another easy quarter turn to remove it.

The 70-200mm F2.8 DG OS HSM | Sports in action

This past fall and winter, I took advantage of an opportunity to borrow the SIGMA 70-200mm F2.8 DG OS HSM | Sports lens to shoot a series of outdoor Arena Polo Tournaments, and as the weather cooled off, I took it indoors for more polo and some ice hockey as well.  I even got a chance to shoot a Rugby match.  Lighting conditions varied from bright midday sun and late afternoon fading light to full cloud cover and the total nightmare scenario you get inside a dingy indoor horse arena.  I think I put the lens through a decent workout.

SIGMA 70-200mm F2.8 DG OS HSM | S on Nikon D500 / 145mm, F4, 1/1250 sec., ISO 160

Arena Polo is played in a rink that’s just a bit smaller than a football field (100 feet wide x 300 feet long vs 160 feet wide x 300 feet long) and is enclosed with a four-foot high fence around the perimeter, so getting right up close to the action is pretty easy.  The narrow arena allows me to have horse and rider fill 2/3 of the frame when I’m shooting from the opposite side of the arena.

The Rugby game I shot was played on a soccer field and I had nice bright sunshine to work with.  I was able to roam up and down the sideline, keeping me relatively close to the action, but the field was a bit larger than the arena so I eventually switched over to my SIGMA 100-400mm DG OS HSM | Contemporary to get closer to the action.

SIGMA 70-200mm F2.8 DG OS HSM | S on Nikon D500 / 200mm, F5, 1/1000 sec., ISO 400

Of course, when the action is really approaching you quickly, having a lens that can track fast action is essential.  This lens does that in spades.  Not once did I have to wait for the lens to acquire my subject, and once it focused, it stayed locked on no matter how fast the horses were bearing down on me.

SIGMA 70-200mm F2.8 DG OS HSM | S on Nikon D500 / 70mm, F5, 1/1250 sec. ISO 250

Taking advantage of aperture

One of the nice things about using a fast lens is that as you lose light, you can open up the aperture while maintaining a fast shutter speed, and therefore keep your ISO at a relatively low, manageable level.

SIGMA 70-200mm F2.8 DG OS HSM | S on Nikon D500 / 125mm, F2.8, 1/1000 sec., ISO 450

One of the perks of having that ability to shoot at F2.8 is that you can really isolate your subject from the background.  Not to mention this lens really gives you great bokeh, too.

SIGMA 70-200mm F2.8 DG OS HSM | S on Nikon D500 / 160mm, F2.8, 1/1250 sec., ISO 2500

As you’d expect, this lens is really sharp.  I found that shooting around F4 gave me great results.

SIGMA 70-200mm F2.8 DG OS HSM | S on Nikon D500 / 95mm, F4, 1/1600 sec., ISO 180

Once the action gets within 50 yards or so, this lens got me pretty close to the action with horse and rider almost filling the frame.

SIGMA 70-200mm F2.8 DG OS HSM | S on Nikon D500 / 185mm, F2.8, 1/1000 sec., ISO 250

When the action gets close, less than a quarter turn of the zoom ring shifts you from 200mm all the way out to 70mm. There’s no push-pull action like the 100-400mm Contemporary since the zoom mechanism is all inside the lens, and the lens doesn’t telescope as you zoom in.  I didn’t have any issues with zooming all the way out from 200mm to 70mm.

SIGMA 70-200mm F2.8 DG OS HSM | S on Nikon D500 / 70mm, F2.8, 1/1000 sec., ISO 320

Catching light with the 70-200mm F2.8 DG OS HSM | Sports

Where this lens really shines as a sports lens though is when you lose the light like on dark, rainy days, or when you’re in a dimly-lit hockey rink, gymnasium or indoor arena. Being able to shoot at a constant F2.8 has given me so much more light to work with than with my slower variable-aperture zooms.  At F2.8, I can shoot action at an ISO of 1250 on a dark, overcast day, whereas if I were using my 100-400mm F5-6.3 Contemporary lens, I would have to be at least at an ISO of 4000 to shoot in those same conditions. I prefer to control my settings instead of letting the camera choose them, so having the constant F2.8 aperture gave me the opportunity to shoot in manual mode when shooting indoors.

SIGMA 70-200mm F2.8 DG OS HSM | S on Nikon D500 / 125mm, F4, 1/1000 sec., ISO 3200

There are venues that aren’t as well-lit and you do have to rely on the camera to help you adjust to quickly-changing lighting conditions.  This past winter, I shot a series of Polo tournaments indoors in a very poorly-lit arena.  When the players were out in the middle of the area, the light from the skylights in the roof helped, but in the corners and along the sidelines, lighting conditions became extremely tough.

SIGMA 70-200mm F2.8 DG OS HSM | S on Nikon D500 / 110mm, F2.8, 1/1000 sec., ISO 7200

Both the image above and the one below had quite a bit of grain that needed to be cleaned up.  I used the Adobe Elements RAW editor to process them, and I think they came out pretty well.  Will I be able to blow these images up to 20×30 inches?  Probably not, but they are definitely serviceable, which wouldn’t have been the case if the lens couldn’t track well in very low light.  I found that the lens was able to lock onto the fast moving riders quickly and accurately in conditions even worse than those depicted here.

SIGMA 70-200mm F2.8 DG OS HSM | S on Nikon D500 / 112mm, F2.8, 1/1000 sec., ISO 12800

To sum up my thoughts on this lens, it’s sturdy and well built, it’s sharp as a tack, and image quality is as good or better than anything offered by the competition.  The various features that Sigma has built into it are functional and well-placed.  The toggle switches are well-protected, the lens hood is outstanding and even the tripod foot is a well-designed, low profile element of the lens.  The SIGMA 70-200mm F2.8 DG OS HSM | Sports is definitely a lens that I want in my arsenal.

Photographing America’s Fastest Dogs with the 100-400mm DG DN OS Contemporary

The SIGMA 100-400mm DG DN OS Contemporary is the telephoto lens my Sony E-Mount camera was waiting for!

Okay, maybe I was the one waiting for it… but nonetheless, this new addition to the SIGMA arsenal has been specially designed for mirrorless systems (such as Sony E-Mount and L-Mount cameras like the SIGMA fp), and it certainly shows. To check out just how well the SIGMA 100-400mm DG DN OS Contemporary performs, I decided to take it out to the most difficult situation I could think of… a dog sporting event in Southern California in the dead of summer.

SIGMA 100-400mm DG DN – Sony A7R IV – 335mm, 1/3200s, F6.3, ISO 640

The sport the 100-400mm accompanied me to is called Fast CAT, a coursing ability test for dogs. Pups run a timed 100-yard dash chasing a lure. To touch on why a dog sporting event is the ultimate test for a lens like this, let’s look at what we’re dealing with:

  • Direct sunlight in 100-degree heat (don’t worry, for this sport, dogs only run for a very brief moment and are immediately cooled off and sent home. It’s us humans that need to be there all day!)
  • Dirt and dust everywhere, whether it’s being kicked up by fast dogs or by an unexpected hot wind that comes through.
  • Athletic dogs that are running extremely fast. You only have seconds to get the right shots. Best part? They’re running AT you rather than parallel to you, which is considered a difficult focusing condition.
  • Long hours, and you certainly don’t want your arms to fall off (which is why mirrorless is a good idea).
A hot shoe POV showing just how fast these dogs can go!

So how did the SIGMA 100-400mm DG DN OS Contemporary do when attached to my Sony Alpha 7R IV camera?

Excellent!

SIGMA 100-400mm DG DN – Sony A7R IV – 400mm, 1/2500s, F6.3, ISO 640

Despite the sun and heat, the lens remained cool in my hands and was able to continue capturing focus on the running dogs. Even though the dogs ran toward me, the communication between the lens and the camera was so spot on that the Animal Tracking feature in the latest Sony firmware worked! This was a big help in capturing animals that were able to complete the course in mere seconds.

SIGMA 100-400mm DG DN – Sony A7R IV – 400mm, 1/2000s, F6.3, ISO 640

Equally, depending on what I was capturing, the set of features that comes along with the lens were very helpful. There are four switches and buttons on the lens itself, including a zoom lock, an autofocus/manual focus switch, a 3-position focus limiter (FULL, 6M to infinity, and minimum to 5M), a focus hold button that can be programmed with a variety of functions, and a 3-position switch for the optical stabilization (Mode 1 [Standard], Mode 2 [Panning], and OFF). For this shoot, I had it set to Autofocus, Full, and Mode 1. In some moments I kept the zoom lock on and in others I switched it off.

SIGMA 100-400mm DG DN – Sony A7R IV – 400mm, 1/3200s, F6.3, ISO 640

Additionally, the weight was much lighter than the lens that typically accompanies me to a dog show, the 70-200mm F2.8 Sports. Both lenses are approximately the same length, but the SIGMA 100-400mm DG DN OS Contemporary is lighter weight, making the long hours easier. Despite being lighter, the lens feels professional and sturdy in my hands, like it won’t shatter from a bump. Before anyone mentions the addition of a tripod or monopod — that’s not a possibility at these dog sporting events. You go handheld or you go home! But on that same topic, you can nab an optional tripod collar for this lens if your photography requires a tripod or monopod.

SIGMA 100-400mm DG DN – Sony A7R IV – 400mm, 1/2500s, F6.3, ISO 500

Although I am a big shallow depth of field buff, the 100-yard dash setting kept my canine subjects so far away from me that the focal length was far more important than the aperture. I could capture the pups nice and close despite being so far away. Additionally, the distance allowed the dogs to eventually end up so far away from where they started that you still had a nice shallow depth of field that separated the dog from its surroundings in the photograph, even with apertures of F5 through F6.3. Zooming in and out was a breeze, and the zoom ring was very smooth and tactile.

SIGMA 100-400mm DG DN – Sony A7R IV – 400mm, 1/5000s, F6.3, ISO 640

All in all, this lens exceeded my expectations in conditions that are tumultuous for a lot of different equipment. Between the lighter weight helping keep my arms up, to the fast focusing ensuring I’m not missing key shots, I am expecting to see the SIGMA 100-400mm DG DN OS Contemporary at a lot more action shoots in the future!

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