Sigma 729955 100-400 mm F5-6.3 DG OS C Nikon Fitting HSM Lens - Black

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Above: It’s possible to achieve very shallow depth of field effects with telephoto lenses, especially if you’re close to the main subject. Here’s that decoration again from about 1.2m where, at 100mm f5, the fairy lights are rendered into attractive, soft-edged blobs. As you close the aperture down, the nine-blade system keeps the bokeh blobs fairy circular and there’s little to no onion-ringing. For comparison, here’s the Sigma next to the Sony, both at 100mm and their maximum apertures: f5 for the Sigma on the left and f4.5 for the Sony on the right. Despite the slightly larger aperture, the blobs on the Sony are roughly similar in size here, although they have slightly sharper edges. There’s no right or wrong here, only personal preference, although as you already know, the Sony can maintain its close focusing distance throughout the focal range, allowing much greater macro magnification than the Sigma. This lens does not provide much stopping down headroom before reaching openings where diffraction comes into play, creating softness over the entire image. The Sony lens has a considerably shorter minimum focus distance and a considerably higher maximum magnification (0.35x vs. 0.26x). Testing with a Sony a7R III under ideal conditions, most 1/13 second handheld exposures were sharp at 100mm, with sporadic sharp images were made at durations as long as 0.2 seconds.

An extension tube mounted behind this lens should provide a modest decrease and increase, respectively.You could try mounting your camera on a tripod using a forward-aiming tripod plate that tries to balance out the setup a little bit, but based on my observations of the flex stress this puts on the bottom of the camera body itself, I DO NOT ADVISE THIS, unless you use one of those special long-lens support plates that actually reaches up to touch and support the lens. Reversed Zoom & Focus Ring Position Choosing the right focal length or focal length range is of utmost importance for lens selection as the focal length determines the perspective and framing combination. The only way to work around this is to just not over-edit your photos. Unfortunately, if you’re editing images with lots of haze and need to take the Dehaze slider past, say, +15 or +20, you’ll run the risk of seeing a very faint color shift. Honestly, though? This seems to be an issue with almost all mirrorless lenses; in fact, see if you can notice a faint bit of it in the Sony 100-400mm GM example, below… Sigma 100-400mm DN Review | Compared To The Competition Photo by Kurt Lawson | Sony 100-400mm f/4.5-5.6 GM, Sony A7III | 400mm, 1/25 sec, f/5.6, ISO 100 100% Crop (f/5.6, 400mm, 24 megapixels) Again this lens performs well across its zoom-range in this long distance test. If you want to see all the details, read on. Or fast-forward to the next chapter on rendering of point-light sources at night-shots.

Below you will find sets of 100% resolution center of the frame crops captured in uncompressed RAW format using a Sony a7R III.OS, Optical Stabilization, is an extremely valuable feature in any lens and an especially valuable feature in a telephoto lens.