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Sigma APO 70-200mm F2.8 EX DG OS HSM

 & Jim Fisher Principal Writer, Cameras

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Sigma APO 70-200mm F2.8 EX DG OS HSM - Sigma APO 70-200mm F2.8 EX DG OS HSM
3.5 Good

The Bottom Line

The Sigma APO 70-200mm F2.8 EX DG OS HSM is a value option for professional shooters who want a stabilized f/2.8 telezoom.
Best Deal£383.76

Buy It Now

£383.76

Pros & Cons

    • Excellent center sharpness through most of its range.
    • Fixed f/2.8 aperture.
    • Includes tripod collar.
    • Optically stabilized.
    • So-so images at 200mm f/2.8.
    • Distortion at 70mm.
    • Edge performance could be better.

The Sigma APO 70-200mm F2.8 EX DG OS HSM ($1,259) is a less-expensive professional alternative to similar lenses from Canon, Nikon, and Sony. The stabilized 70-200mm f/2.8 zoom is the go-to lens for many an event shooter, and getting one for under $2,000 is an appealing prospect. For the most part, the Sigma 70-200mm delivers solid performance, but it doesn't offer the impeccable image quality that you'll get from our Editors' Choice Canon EF 70-200mm f/2.8L IS II USM ($998.95 at Amazon) .

The APO 70-200mm ($430.00 at Amazon)  is available for Canon, Nikon, Sigma, and Sony cameras, but because it's an older lens it's not available for the Sigma's mount conversion service. It measures 7.8 by 3.4 inches (HD) and is heavy at 3.2 pounds. There are a couple of toggle switches on the lens barrel: one to change between automatic and manual focus, and the other to adjust the image stabilization mode. It can be turned off, put in Mode 1 for standard shots, or put in Mode 2 for shots where the camera pans along with a moving subject during an exposure. The lens has a narrow manual focus ring and a wide zoom ring. It includes both a hood and tripod collar, and its front element accepts 77mm filters.

Sigma APO 70-200mm F2.8 EX DG OS HSM : Sample Image

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I used Imatest to check the sharpness of the 70-200mm when paired with the full-frame 36-megapixel Nikon D810 ($1,996.95 at Amazon) . At 70mm f/2.8 it scores 2,395 lines per picture height on our standard center-weighted sharpness test, which is well in excess of the 1,800 lines we use to mark a photo as sharp. But edge performance suffers, with the sharpness dropping to 1,386 lines at the periphery of the frame, and there's strong (2.4 percent) barrel distortion. Stopping down to f/4 improves the center-weighted score to 2,998 lines, and edges are a more respectable 1,628 lines. At f/5.6 the lens is sharp from edge to edge, scoring 3,390 lines across the frame with edges that approach 2,400 lines. It's even better at f/8—3,637 lines on average with edges that top 3,000 lines—and at f/11 the overall sharpness score is just a little bit higher, while edges top 3,300 lines.

At 100mm the distortion goes away, and sharpness at f/2.8 improves to 2,714 lines, but edge sharpness is still a little weak at 1,640 lines. Stopping down to f/4 boosts the overall score to 3,287 lines, with tack sharp edges that show 2,231 lines. The lens just gets better as you stop down: 3,590 lines at f/5.6, 3,711 lines at f/8, and 3,623 lines at f/11.

Sigma APO 70-200mm F2.8 EX DG OS HSM : Sample Image

There's about 1 percent pincushion distortion at 140mm, and the lens shows its sharpest results at f/2.8—3,003 lines using the center-weighted metric with edges that fall just shy of 2,700 lines. The lens gets better as the aperture is narrowed: 3,490 lines at f/4, 3,629 lines at f/5.6, 3,673 lines at f/8, and 3,569 lines at f/11.

Distortion stays steady at 200mm, but sharpness drops off dramatically. At 200mm f/2.8 the lens shows just 1,628 lines using our center-weighted method, with edges that are just 1,030 lines. You'll want to stop down to f/4 when zoomed all the way in if the light allows it. That will improve the overall score to 2,500 lines, but you'll still have to deal with fuzzy 1,355-line edges. The overall sharpness is better at f/5.6 (2,895 lines), but edges only sharpen by about 100 lines. You'll need to set the lens to a narrow aperture for the best performance—it's great at f/8 (3,211 lines average, 2,103 lines at the edges) and at f/11 (3,370 lines average, 2,614 lines at the edges).

Sigma APO 70-200mm F2.8 EX DG OS HSM : Sample Image

The Sigma APO 70-200mm F2.8 EX DG OS HSM isn't an optically perfect lens like our Editors' Choice Canon EF 70-200mm f/2.8L IS II USM, but it isn't nearly as expensive. If you're willing to sacrifice some sharpness and distortion control in order to save some money, though, it's a solid option. If you shoot with a Sony camera you'll also get images with more detail with the Sony 70-200mm f/2.8 ($799.99 at Amazon) , but we can't speak to Nikon shooters, as we've not yet been able to get an AF-S Nikkor 70-200mm f/2.8G ED VR II ($2,399.95) in for review. Some more recent Sigma lenses, like the excellent Sigma 18-35mm F1.8 DC HSM ($598.00 at Amazon) for APS-C cameras have offered more performance than you'd expect for your dollar, but this Sigma zoom performs just in line with its budget-minded price point.

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Further Reading

Final Thoughts

Sigma APO 70-200mm F2.8 EX DG OS HSM - Sigma APO 70-200mm F2.8 EX DG OS HSM

Sigma APO 70-200mm F2.8 EX DG OS HSM Review

3.5 Good

The Sigma APO 70-200mm F2.8 EX DG OS HSM is a value option for professional shooters who want a stabilized f/2.8 telezoom.

Get It Now
Best Deal£383.76

Buy It Now

£383.76

About Our Expert

Jim Fisher

Jim Fisher

Principal Writer, Cameras

My Experience

Images, and the devices that capture them, are my focus. I've covered cameras at PCMag for the past 14 years, which has given me a front row seat for the changeover from DSLRs to mirrorless cameras, the smartphone camera revolution, and the emergence of drones for aerial imaging. I have extensive experience with every major mirrorless and SLR system, and am also comfortable using point-and-shoot and action cameras. As a Part 107 Certified drone pilot, I’m licensed to fly unmanned aircraft systems (UAS) for commercial and editorial purposes, and am knowledgeable about federal rules and regulations regarding drones.

The Technology I Use

I use all of the major camera systems on a regular basis, swapping between Canon, Fujifilm, L-Mount, Micro Four Thirds, Nikon, and Sony systems. I still find time to use Leica M rangefinders and Pentax SLRs on occasion, too. I keep an iPhone 13 in my pocket for the rare occasions I'm not carrying a camera.

I'm not a brand-specific photographer. For product review photos, I swap between a Canon EOS R5 and a Sony a7R IV. I use Flashpoint and Godox TTL lights and Peak Design tripods, and I most often reach for a Think Tank or Peak Design backpack to carry equipment.

When it comes to computers, I'm an unapologetic Mac person and have been for the past 20 years. I write in Pages and use Numbers for spreadsheets. I currently swap between an Intel i9 MacBook Pro and an Apple Silicon Mac Studio for writing and use a calibrated BenQ 32.5-inch with the Studio for photo and video editing. I rely on a LaCie 6big RAID for media storage. I also keep a PC around for gaming, but please don't tell my Macs about it; they'll get jealous.

I split time between several different software apps depending on the type of editing I'm doing. For Raw image processing, Adobe Photoshop Lightroom Classic is my standard. I pair it with a LoupeDeck CT console to supplement my keyboard and trackpad, and I lean on RNI All Films 5 presets when I want to give an image a film look. I use Apple Final Cut Pro for video editing.

My first digital camera was the Canon PowerShot Elph S200, and my first DSLR was the Pentax *ist DL. I have a soft spot for antique film gear. I still use a 1950 vintage Rolleiflex Automat TLR and love trying mid-century Leica lenses on film and digital alike. I mainly use whatever's in front of me for review for digital snaps, but I pick up either my Leica M Typ 240 or Pentax K-3 III Monochrome when I want to step away from review work. In my downtime, I enjoy bird watching, reading, video games, and both good and bad movies, especially in the sci-fi and horror genres.

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