Sigma 70-200mm F/2.8 DG OS HSM | S

Telephoto zoom lens • Digital era

DG The lens is designed for 35mm full-frame digital cameras but can be also used on APS-C digital cameras.
OS The lens is equipped with Optical Stabilizer.
HSM The lens is equipped with Hyper Sonic Motor.
| S Belongs to the Sports series lenses.

Model history

Sigma 70-200mm F/2.8 DG OS HSM | SA24 - 221.2m⌀82 2018 
Sigma 70-200mm F/2.8 APO EX DG OS HSMA22 - 171.4m⌀77 2010 
Sigma 70-200mm F/2.8 APO EX DG HSM II MacroA18 - 151m⌀77 2007 
Sigma 70-200mm F/2.8 APO EX DG HSM MacroA18 - 151m⌀77 2006 
Sigma 70-200mm F/2.8 APO EX DG (HSM)A17 - 141.8m⌀77 2005 
Sigma 70-200mm F/2.8 APO EX (HSM)A17 - 141.8m⌀77 1998 
Sigma 70-210mm F/2.8 APO ZEN (II)A17 - 131.8m⌀82 1994 
Sigma 70-210mm F/2.8 APO ZEN (I)A17 - 131.8m⌀77 1992 

Features highlight

Fast
Constant F/2.8
9 FLD
1 SLD
11 blades
HSM
MFO
Focus limiter
OS 4 stops
OS Mode 1
OS Mode 2
Intelligent OS
DP/WR
FC
IZ

Compatibility

  • EMD lenses are not compatible with Nikon D2- or D1-series, D200, D100, D90, D80, D70, D70s, D60, D50, D40, D40X, D3000 digital SLR cameras and Nikon film SLR cameras.

Specification

Production details
Announced:September 2018
Production status:In production
Production type:Mass production
Original name:Sigma 70-200mm 1:2.8 DG S
Optical design
Focal length range:70mm - 200mm
Speed range:F/2.8 across the focal length range
Maximum format:35mm full frame
Mount:Canon EF
Nikon F
Sigma SA
Diagonal angle of view:34.3° @ 70mm - 12.3° @ 200mm (35mm full frame)
27.6° @ 70mm - 9.8° @ 200mm (Canon EF APS-H)
22.8° @ 70mm - 8.1° @ 200mm (Nikon F APS-C)
20.1° @ 70mm - 7.1° @ 200mm (Sigma SA APS-C)
Lens construction:24 elements - 22 groups
9 FLD, 1 SLD
Diaphragm mechanism
Diaphragm control system:Electromagnetic (Canon EF, Nikon F, Sigma SA)
Number of blades:11
Zooming
Zoom type:Rotary
Zooming method:Internal zooming
Focusing
Closest focusing distance:1.2m
Maximum magnification ratio:1:4.8 @ 200mm at the closest focusing distance
Focusing method:<No information>
Focusing modes:Autofocus, manual focus
Manual focus control:Focusing ring
Autofocus motor:Hyper Sonic Motor
Focus mode selector:AF - MO - MF
Manual focus override in autofocus mode:Yes
Focusing distance range limiter:FULL;3-
Optical Stabilizer (OS)
Built-in OS:Yes
OS features:Mode 1
Mode 2 (Intelligent OS)
OS efficiency:up to 4 stops @ 200mm
Physical characteristics
Weight:1805g (Sigma SA)
Maximum diameter x Length:⌀94.2×202.9mm (Sigma SA)
Weather sealing:Dust-proof and water-resistant barrel
Fluorine coating:Front element
Accessories
Filters:Screw-type 82mm
Lens hood:Bayonet-type LH914-01 (petal-shaped)

*) Source of data: Manufacturer's technical data.

Manufacturer description

The F2.8 zoom lenses are the essential equipment for many professional photographers. 70-200mm F2.8 lenses in particular are expected to perform at their best in various challenging scenes, from news to sports, landscape, and portraits. The SIGMA 70-200mm F2.8 DG OS HSM | Sports has high optical quality, a tough design and excellent handling ―all of the features required by professional photographers and high-end amateurs. The all-round, ultimate 70-200mm F2.8 is now available.

To make the lens lightweight while maintaining robustness, magnesium is used to ensure high mobility. As a lens from the Sports line, the dust- and splash-proof structure together with the water- and oil-repellent coating on the front lens ensure safe use even in the most challenging shooting conditions. The SIGMA 70–200mm F2.8 DG OS HSM | Sports also incorporates Intelligent OS* with an acceleration sensor and the latest algorithm capable of panning in all directions. The high-speed AF, thanks to the HSM (Hyper Sonic Motor) with an updated algorithm, captures instantaneous photography movement.

* In Mode 2, the movements of subjects can be captured without losing panning effects thanks to the image stabilization function even when the camera is moved horizontally, vertically, or diagonally—regardless of the position of the lens.

Forefront and rear lenses incorporate a water and oil-repellent coating that allows water to be wiped away easily and prevents oil and fat from sticking to the surface, even in challenging shooting conditions. At the same time, the maintenance of the lens surface becomes easier.

This lens features a highly effective dust- and splash-proof structure with special sealing at the mount connection, manual focus ring, zoom ring, and cover connection, allowing photographers to work in all types of weather.

This lens incorporates Intelligent OS*1 adopting the latest algorithm to deliver an image stabilization effect of 4 stops*2.

*1 horizontally, vertically, or diagonally—regardless of the position of the lens.

To help minimize the weight associated with a hyper telephoto lens, the lens barrel is made with a magnesium alloy. Both lightweight and tough, this alloy contributes to the outstanding maneuverability of SIGMA 70-200mm F2.8 DG OS HSM | Sports.

To provide excellent correction of color aberration, 9 FLD (“F” Low Dispersion) glass elements and 1 SLD (Special Low Dispersion) glass element, in total as many as 10 exclusive low-dispersion glass elements are incorporated. From the center to the corners, extremely high resolution is realized, making the lens capable of meeting the most demanding needs of professional photographers in various shooting conditions. By optimizing spherical aberration, a smooth and natural bokeh effect is ensured making the lens perfect for portrait photography.

The tripod socket with 90° click stops, made with a magnesium alloy which is both lightweight and tough, is incorporated to ensure easier changes of shooting position from vertical to horizontal and vice versa. It can be attached directly to an Arca Swiss type clamp.

Tele Converters that are designed to match the current lens lineup (optional) can be attached. The addition of SIGMA's TELECONVERTER TC-1401 or TELECONVERTER TC-2001 produces a AF 98-280mm F4 telephoto zoom lens or a AF 140-400mm F5.6 hyper-telephoto zoom lens respectively.

Offering customization for the driving range of auto focus enables a photographer to exactly reflect the personal preference.

Manual override (MO) capable of switching two full-time manual modes. By setting it to the MO position, it switches to manual focus by rotating the focus ring even during continuous AF. Using the optional SIGMA USB DOCK, it is possible to adjust the MO position's sensitivity to switch to manual focus.

The Canon mount version of this lens is compatible with the Canon Lens Aberration Correction function*. Matching the optical characteristics of the lens, this function performs in-camera corrections of peripheral illumination, chromatic aberrations, distortion, and more, to further enhance image quality.

The Nikon mount version of this lens includes an electromagnetic diaphragm mechanism that allows it to receive the appropriate signals from the camera body. This feature ensures precision diaphragm control and stable Auto Exposure (AE) performance during continuous shooting.

The 11-blade rounded diaphragm creates an attractive blur in the out-of-focus areas of the image.

Typical application

portraits, distant subjects, distant landscapes with perspective compression effect, photojournalism, weddings, parties, carnivals, live concerts, sports, wild nature

Slowest shutter speed when shooting handheld

OS OFF @ 200mm11/21/41/81/131/151/301/601/1251/2001/2501/5001/1000+
OS ON @ 200mm11/21/41/81/131/151/301/601/1251/2001/2501/5001/1000+

Notes and recommendations

  • Use of a tripod is recommended due to heavy weight of the lens.

Canon EF 70-200mm F/2.8L IS II USM

Canon EF 70-200mm F/2.8L IS III USM

Canon EF 70-200mm F/2.8L IS III USM
  • Advantages: 2
  • Disadvantages: 0

Tamron SP 70-200mm F/2.8 Di VC USD G2 A025

Nikon AF-S Nikkor 70-200mm F/2.8E FL ED VR

Tamron SP 70-200mm F/2.8 Di VC USD G2 A025

Nikon AF-S Nikkor 70-200mm F/2.8E FL ED VR (100th Anniversary Edition)

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Tamron SP 70-200mm F/2.8 Di VC USD G2 A025

Canon EF 70-200mm F/2.8L IS III USM

Canon EF 70-200mm F/2.8L IS III USM
  • Advantages: 2
  • Disadvantages: 0

Sigma 70-200mm F/2.8 DG OS HSM | S

Sigma 70-200mm F/2.8 DG OS HSM | S
  • Advantages: 0
  • Disadvantages: 0
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Canon EF 70-200mm F/2.8L IS II USM

Nikon AF-S Nikkor 70-200mm F/2.8E FL ED VR

Tamron SP 70-200mm F/2.8 Di VC USD G2 A025

Sigma 70-200mm F/2.8 DG OS HSM | S

Sigma 70-200mm F/2.8 DG OS HSM | S
  • Advantages: 0
  • Disadvantages: 0
Not enough data to compare lenses.

Nikon AF-S Nikkor 70-200mm F/2.8E FL ED VR (100th Anniversary Edition)

Sigma 70-200mm F/2.8 DG OS HSM | S

Sigma 70-200mm F/2.8 DG OS HSM | S
  • Advantages: 0
  • Disadvantages: 0
Not enough data to compare lenses.

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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm

Travellers' choice

Note

Among autofocus lenses designed for 35mm full-frame mirrorless cameras only. Speed of standard and telephoto lenses is taken into account.

Professional lens (Top class)

One of the best fast telephoto zooms

According to lens-db.com; among lenses designed for the same maximum format and mount.

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Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Hyper Sonic Motor

Sorry, no additional information is available.

Hyper Sonic Motor

Sorry, no additional information is available.

Hyper Sonic Motor

Sorry, no additional information is available.

Focusing distance range limiter

The lens features focusing distance range limiter which allows to choose between the following focusing distance ranges:

FULLFull range of focusing distances.
3m - ∞Range of focusing distances suitable for shooting distant subjects.

By setting the suitable focusing distance range, the actual autofocusing time can be shorter.

AF - MO - MF

AFAutofocus mode.
MOAutofocus mode with manual focus override even during continuous autofocus.
MFManual focus mode.

Aspherical elements

Aspherical elements (ASPH, XA, XGM) are used in wide-angle lenses for correction of distortion and in large-aperture lenses for correction of spherical aberration, astigmatism and coma, thus ensuring excellent sharpness and contrast even at fully open aperture. The effect of the aspherical element is determined by its position within the optical formula: the more the aspherical element moves away from the aperture stop, the more it influences distortion; close to the aperture stop it can be particularly used to correct spherical aberration. Aspherical element can substitute one or several regular spherical elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.

Use of aspherical elements has its downsides: it leads to non-uniform rendering of out-of-focus highlights. This effect usually appears as "onion-like" texture of concentric rings or "wooly-like" texture and is caused by very slight defects in the surface of aspherical element. It is difficult to predict such effect, but usually it occurs when the highlights are small enough and far enough out of focus.

Low dispersion elements

Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.

Low dispersion elements

Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.

Canon's Super UD, Nikon's Super ED, Pentax' Super ED, Sigma's FLD ("F" Low Dispersion), Sony' Super ED and Tamron's XLD glasses are the highest level low dispersion glasses available with extremely high light transmission. These optical glasses have a performance equal to fluorite glass.

High-refraction low-dispersion elements

High-refraction low-dispersion elements (HLD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

High Index, High Dispersion elements

High Index, High Dispersion elements (HID) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

Anomalous partial dispersion elements

Anomalous partial dispersion elements (AD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

Fluorite elements

Synthetic fluorite elements (FL) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. Compared with optical glass, fluorite lenses have a considerably lower refraction index, low dispersion and extraordinary partial dispersion, and high transmission of infrared and ultraviolet light. They are also significantly lighter than optical glass.

According to Nikon, fluorite easily cracks and is sensitive to temperature changes that can adversely affect focusing by altering the lens' refractive index. To avoid this, Canon, as the manufacturer most widely using fluorite in its telephoto lenses, never uses fluorite in the front and rear lens elements, and the white coating is applied to the lens barrels to reflect light and prevent the lens from overheating.

Short-wavelength refractive elements

High and specialized-dispersion elements (SR) refract light with wavelengths shorter than that of blue to achieve highly precise chromatic aberration compensation. This technology also results in smaller and lighter lenses.

Blue Spectrum Refractive Optics

Organic Blue Spectrum Refractive Optics material (BR Optics) placed between convex and concave elements made from conventional optical glass provides more efficient correction of longitudinal chromatic aberrations in comparison with conventional technology.

Diffraction elements

Diffraction elements (DO, PF) cancel chromatic aberrations at various wavelengths. This technology results in smaller and lighter lenses in comparison with traditional designs with no compromise in image quality.

High refractive index elements

High refractive index elements (HR, HRI, XR etc) minimize field curvature and spherical aberration. High refractive index element can substitute one or several regular elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.

Apodization element

Apodization element (APD) is in fact a radial gradient filter. It practically does not change the characteristics of light beam passing through its central part but absorbs the light at the periphery. It sort of softens the edges of the aperture making the transition from foreground to background zone very smooth and results in very attractive, natural looking and silky smooth bokeh.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance from the lens mount to the film or sensor can also be different.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Flange focal distance

The flange focal distance (FFD), sometimes called the "flange back", is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Electromagnetic diaphragm control system

Provides highly accurate diaphragm control and stable auto exposure performance during continuous shooting.

Convex protruding front element

The convex front element protrudes from the lens barrel, making it impossible to use filters.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Rotary zoom

The change of focal length is achieved by turning the zoom ring and the manual focusing - by turning the separate focusing ring.

Push/pull zooming allows for faster change of focal length, however conventional method based on the rotation of the zoom ring provides more accurate and smooth zooming.

Push/pull zoom

The change of focal length and the manual focusing is achieved by one and the same ring. The change of focal length happens when the photographer moves the ring towards the mount or backwards and the rotation of the ring leads to change of focus.

Push/pull zooming allows for faster change of focal length, however conventional method based on the rotation of the zoom ring provides more accurate and smooth zooming.

Zoom lock

The lens features a zoom lock to keep the zoom ring fixed. This function is convenient for carrying a camera with the lens on a strap because it prevents the lens from extending.

Power Zoom

The lens features electronically driven zoom mechanism. It provides smoother, more natural zoom movements than you could accomplish by hand.

The Holy Trinity of lenses

The Holy Trinity of lenses refers to a three-lens set that covers a focal length range from the ultra-wide focal length of 14-16mm all the way long to the telephoto focal length of 200mm. The set typically consists of a 16-35mm ultra-wide angle zoom lens, a 24-70mm standard zoom lens and a 70-200mm telephoto zoom lens and usually represents the best constant-aperture zoom lenses in a manufacturer's lineup. The set is designed to cover almost every genre of photography, be it landscapes, architecture, portraits, weddings, sports, travel or even wildlife (with teleconverter). However, it is also expensive, large and heavy.

Efficiency of image stabilizer

The efficiency of image stabilizer is measured in stops and each stop corresponds to a two-times increase of shutter speed. For example, if you are shooting at focal length of 80mm and it is known that the efficiency of image stabilizer is 3 stops, it means that during handheld shooting at such focal length you can use shutter speed of 1/10 second which is exactly 23 times longer than the shutter speed 1/80 second needed to obtain sharp image in sufficient lighting conditions.

Hybrid IS

The image stabilizer has Hybrid IS technology which corrects not only angle but also shift camera shake, which is more pronounced in close-range shooting when a camera moves parallel to the imaging scene. Hybrid IS dramatically enhances the effects of image stabilization during shooting, including macro shooting, which had proven difficult for conventional image stabilization technologies.

XY-Shift

The image stabilizer has XY-Shift technology which corrects not only angle but also shift camera shake, which is more pronounced in close-range shooting when a camera moves parallel to the imaging scene. XY-Shift dramatically enhances the effects of image stabilization during shooting, including macro shooting, which had proven difficult for conventional image stabilization technologies.

Dynamic IS

The image stabilizer has Dynamic IS technology which especially effective when shooting while walking because it compensates strong camera shake. Dynamic IS activates automatically when the camera is set to movie shooting.

Mode 1

Corrects vertical and horizontal camera shake. Mainly effective for shooting still subjects.

Mode 2

Corrects vertical camera shake during following shots in a horizontal direction. Corrects horizontal camera shake during following shots in a vertical direction.

Mode 2

Corrects vertical camera shake during following shots in a horizontal direction.

Mode 2 (Intelligent OS)

The lens incorporates Intelligent OS with algorithm capable of panning in all directions. In Mode 2, the movements of subjects can be captured with panning effects even when the camera is moved horizontally, vertically, or diagonally — regardless of the position of the lens.

Mode 3

Corrects camera shake only during exposure. During panning shots, corrects camera shake during exposure only in one direction the same as Mode 2. Effective for following fast and irregulary moving subjects.

Panning Detection

The image stabilizer automatically detects panning and then corrects camera shake only in one direction.

Tripod Detection

It is often thought that image blur caused by camera shake can be prevented by using a tripod. Actually, however, even using a tripod may result in image blur because of tripod vibration caused by mirror or shutter movement at the time of exposure. The image stabilizer automatically differentiates the frequency of the vibration from that of camera shake, and changes algorithm to correct image blur caused by slight tripod vibration.

VR NORMAL

Corrects vertical and horizontal camera shake. Automatically detects panning and then corrects camera shake only in one direction.

VR ACTIVE

Corrects vertical and horizontal camera shake when shooting from a moving vehicle, or some other unstable position. Panning is not detected.

VR SPORT

Allows a continuous shooting frame rate and release time lag similar to those that are possible when image stabilizer is turned off. Automatically detects panning and then corrects camera shake only in one direction.

VR TRIPOD

It is often thought that image blur caused by camera shake can be prevented by using a tripod. Actually, however, even using a tripod may result in image blur because of tripod vibration caused by mirror or shutter movement at the time of exposure. The image stabilizer automatically differentiates the frequency of the vibration from that of camera shake, and changes algorithm to correct image blur caused by slight tripod vibration.