I mostly used the EOS 5D Mark III set to its general Continuous AF profile and the zoned AF area, and in each situation the combination returned a high hit rate. I tried it here mounted on an Olympus OMD EM1 using a basic adapter with no exposure or AF control, rendering the lens into a 300-1200mm manual focus monster. Sigma 150-600 Contemporary Lens.

To put it to the test I shot a sequence at 600mm with progressively slower shutter speeds starting at 1/640 to see how slowly I could handhold with and without stabilization.On the conditions of the day I needed a shutter speed of 1/320 to handhold a sharp result at 600mm using a full-frame body. This in turn though means a larger, heavier and more expensive lens, and it should still be noted f5-6.3 is still hardly bright. For those of you wondering how does the Sigma 150-600mm Contemporary lens stack up against the Sigma Sport and the Tamron, here are three images to comapre. I wasn’t a fan of the push-pull mechanism of Canon’s original 100-400mm zoom, so approached the 150-600mm Sport with some trepidation, but in use it felt better to me: a smooth, natural action that could be adjusted quickly in the field if necessary. We were in the Pilanesberg National Park with our friend Shawn Catterall, and she had just bought the Sigma Contemporary that she uses with her Canon EOS 70D.

So another great performance from the lens mid-way through its focal range. As before this clears up if you close down the lens by a couple of stops, but equally it can easily be corrected in RAW converters if desired. There may be vignetting at the largest apertures across the range and some evidence for coloured fringing especially at the long and short end, but both can easily be corrected in software. The center crop also reveals a high degree of detail, again even with the aperture wide open.As you close the aperture, there’s actually little to be gained in detail and sharpness, but you will notice the corner crops becoming lighter. The weight of Sigma’s contemporary version wasn’t known at the time of writing, but I’d expect it to be similar to the Tamron at about 2kg.To be fair, the weight of the Sigma 150-600mm Sport includes the appropriately substantial tripod foot – and included it should be too since you can’t take it off. The lens can actually focus quite close, down to 2.6m, and from this distance you’ll get a 1:5 reproduction. So while the collar can’t be removed to save a little weight, its captive nature has allowed Sigma to implement a very classy turning mechanism.

Il est imposant et massif, surtout si l'on ajoute le pare-soleil en métal. If you’d like to mount filters you’ll need to dig deep for models that’ll screw into the 105mm thread; there’s no rear-mounted drop-in option.Towards the end of the barrel, a chunky ring operates the zoom. The light levels were fairly low at this point following Sunset, forcing a longish exposure of 0.3 seconds at f8 and 400 ISO. I’ve pictured 100% crops from the 1/40 versions with and without stabilization above; the 1/80 stabilised result is 100% sharp, but I wanted to show what’s possible at the slower shutter.Like many big lenses, I also found the OS system on the 150-600mm Sport took a couple of seconds to warm up, delivering better stabilization than when you first half-pressed the shutter release. Thankfully the bokeh isn’t as busy as many lenses of similar specification, but equally it’s not going to deliver creamy results unless you’re very close to the subject. I took multiple photos with each lens at each focal length, and here I'm displaying the photo from each side that best represents the average result that I was g… While many tripod collars simply grip the barrel and rattle around when loosened, the one here turns almost as smoothly as many focusing rings and features four ‘stops’ at 90 degree intervals, allowing you to quickly and easily switch between portrait and landscape orientations when mounted on a tripod. In your hands it’s a completely different class to the earlier 150-500mm which feels mid-range in comparison. Sorry the foreground isn’t particularly inspiring – a post in the street – but I was limited in what was at the right height and distance to capture the lights this way. May not be used without permission.Sigma 150-600mm corner crop at 150mm f5 on full-frameSigma 150-600mm center crop at 150mm f5 on full-frameSigma 150-600mm corner crop at 150mm f5.6 on full-frameSigma 150-600mm center crop at 150mm f5.6 on full-frameSigma 150-600mm corner crop at 150mm f8 on full-frameSigma 150-600mm center crop at 150mm f8 on full-frameSigma 150-600mm corner crop at 150mm f11 on full-frameSigma 150-600mm center crop at 150mm f11 on full-frameSigma 150-600mm corner crop at 150mm f16 on full-frameSigma 150-600mm center crop at 150mm f16 on full-frameSigma 150-600mm corner crop at 300mm f5.6 on full-frameSigma 150-600mm center crop at 300mm f5.6 on full-frameSigma 150-600mm corner crop at 300mm f8 on full-frameSigma 150-600mm center crop at 300mm f8 on full-frameSigma 150-600mm corner crop at 300mm f11 on full-frameSigma 150-600mm center crop at 300mm f11 on full-frameSigma 150-600mm corner crop at 300mm f16 on full-frameSigma 150-600mm center crop at 300mm f16 on full-frameSigma 150-600mm corner crop at 600mm f6.3 on full-frameSigma 150-600mm center crop at 600mm f6.3 on full-frameSigma 150-600mm corner crop at 600mm f8 on full-frameSigma 150-600mm center crop at 600mm f8 on full-frameSigma 150-600mm corner crop at 600mm f11 on full-frameSigma 150-600mm center crop at 600mm f11 on full-frameSigma 150-600mm corner crop at 600mm f16 on full-frameSigma 150-600mm center crop at 600mm f16 on full-frame

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