Sigma 500mm F5.6 DG DN OS Sports Lens Review

High-quality sports and wildlife photography primarily requires long focal length lenses that are big, heavy, and extremely expensive — they are not fun to carry or pay for. That sentence, of course, leads to the advantages of the Sigma 500mm F5.6 DG DN OS Sports Lens.

While this Sigma lens is far from cheap, it is considerably less expensive than the big primes featuring a 1-stop wider aperture. It is also far smaller and lighter — smaller and lighter than even the zoom lenses that cover 500mm.

As usual for a Sigma Sports lens, the 500mm F5.6 features robust build quality and great AF performance. This lens's optical quality, aided by optical stabilization, is excellent, rivaling that of the referenced big prime super telephoto lenses.

Focal Length

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Focal length is the first consideration for lens selection. Focal length drives subject distance choices (or meets distance-related requirements), which also determines perspective.

You primarily want the 500mm focal length when you can't get closer, and the subjects routinely presenting this constraint are wildlife and people participating in sports. Both of these genres have a wide variety of needs, so let's narrow the recommendation.

The 500mm angle of view is on the wide side of ideal for typical bird photography, but it is perfect for larger and closer wildlife, especially deer, elk, etc.

This focal length is a good choice for zoo photography.

The 500mm angle of view will be found too narrow for close sports, including those played on a court, but this angle of view works nicely for larger field sports, including soccer.

This is a comfortable lens to use for airshows and other aviation photography.

Videographers will find the 500mm angle of view ideal for the same uses as still photographers.

Here are focal length range examples that include 300mm:

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A camera with an APS-C imaging sensor will see an angle of view similar to a 750mm lens on a full-frame camera, increasing its utility for birds and distant wildlife. The APS-C angle of view limits sports photography to large field sports and other more distant subjects.

Max Aperture

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A lens's maximum aperture is usually included in the product name immediately after the focal length range, reflecting this specification's next-most importance. F/5.6 is this lens's maximum aperture, the ratio of the focal length to the entrance pupil diameter.

F/5.6 is wide compared to zoom lenses covering 500mm, but it is about a stop narrower than the many big super telephoto primes.

A narrow aperture's advantages are related to (often significantly) reduced lens element size, including smaller overall size, lighter weight, and lower cost. Everyone loves those attributes, and the Sigma 500mm F5.6 DG DN OS Sports Lens delivers them.

Narrow max apertures make a lens unfavorable for photographing low-light motion, and this lens is balanced in this regard. While f/5.6 works great for fast action in bright daylight, it is not a first choice for indoor sports, and a high ISO will be required for outdoor sports use on a heavily cloudy day.

If all other aspects remain the same, the wider the aperture, the stronger the background blur. While f/5.6 is a moderately wide aperture for 500mm, this focal length's telephoto compression can still produce a strong background blur, as seen here:

The background is a significant percentage of many images, and when the background is not complementary to the subject (or even distracting), blurring it away is highly advantageous. That capability is in this lens's skill set.

Videographers will especially appreciate this lens's iris ring, which permits a manually selected aperture. The camera controls the aperture setting with the ring in the A (Auto) position, while all other settings electronically force the aperture to the chosen opening. A 2-position switch on the front left side of the lens toggles the aperture ring between 1/3 stop clicks and smooth, quiet, non-clicked adjustments, ideal for video recording.

Aside from a slightly more complicated design, inadvertent aperture changes are the primary disadvantage of an aperture ring (especially when photographing in the dark). The front right positioned iris Lock switch eliminates that problem, holding the ring in the A position or within the manual range.

Image Stabilization

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The longer the focal length, the larger subject details (captured at the same distance) are rendered, and the more still the camera must be held to avoid subject details crossing imaging sensor pixels, the cause of motion blur. Image stabilization, OS (Optical Stabilization) in this case, is an extremely valuable feature in any lens and an especially valuable feature in a telephoto lens.

Increased AF precision is another sharpness benefit of image stabilization benefit, as the camera's AF system can produce improved focus precision if the image it sees is stabilized.

The Sigma OS2 algorithm's 5-stop-rated OS difference seen in the viewfinder is massive, and the stabilized viewfinder aids greatly in optimal composition. Handheld movie recording quality is significantly improved by image stabilization.

While OS is active, framing drift is not an issue, and the viewfinder view is well-controlled, not jumping at startup/shutdown and permitting easy reframing. A quiet but audible scratchy whir is heard when the switch is enabled — and when it is disabled.

This lens features two OS modes (in addition to off), Mode 1 (general-purpose) and Mode 2 (for panning with a subject, one axis of stabilization is provided).

"In Mode 2, SIGMA's Intelligent OS, an algorithm specially designed for panning shots, enables effective image stabilization even when the camera is moved vertically or diagonally, irrespective of the horizontal and vertical orientation." [Sigma]

OS behavior can be adjusted via the Custom switch. The settings, by default, the only option for the Sony E mount version, are:

OFF — Standard
C1 — Dynamic View Mode
C2 — Moderate View Mode

Standard mode provides a well-balanced view suitable for general-purpose uses. Dynamic View Mode provides a stable live view image. In Moderate View Mode, the lens differentiates between composition adjustment and camera shake and optimally controls image stabilization to provide natural live view images.

L mount users can customize the Custom modes via the dock.

Sigma advises turning off OS while using a tripod.

As usual, when you need/want to leave the tripod behind, OS is there for you, helping to ensure sharp images and adding significant versatility to this lens.

Image Quality

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How does the Sigma 500mm F5.6 DG DN OS Sports Lens perform optically? Extremely well.

This lens is impressively sharp from full-frame corner to full-frame corners with a wide open f/5.6 aperture. Stopping down produces only minor improvement, and no improvement is needed.

That was easy. The optical performance of high-performing lenses is easy to test and easy to describe.

Taking the testing outdoors, we next look at a series of center-of-the-frame 100% resolution crop examples. These images were captured in RAW format using a Sony Alpha 1 and processed in Capture One using the Natural Clarity method. The sharpening amount was set to only "30" on a 0-1000 scale. Note that images from most cameras require some level of sharpening, but too-high sharpness settings are destructive to image details and hide the deficiencies of a lens.

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I only shared the f/5.6 results. The f/8 results appeared similarly great and did not warrant downloading.

Next, we'll look at a series of comparisons showing 100% resolution extreme top left corner crops captured and processed identically to the above center-of-the-frame images. The lens was manually focused in the corner of the frame to capture these images.

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Count on samples taken from the outer extreme of the image circle, full-frame corners, to show a lens's weakest performance. There is not much weakness to show here, and again, the f8 results were not worth downloading.

This lens does not exhibit focus shift, the plane of sharp focus moving forward or backward as the aperture is narrowed (residual spherical aberration or RSA).

A lens is expected to show peripheral shading at the widest aperture settings when used on a camera that utilizes its entire image circle. However, the amount of wide-open aperture shading in this lens's corners is quite mild, only about 1.5 stops. The shading drops below a stop at f/8 and to about 0.5 stops at f/11.

APS-C format cameras using lenses projecting a full-frame-sized image circle avoid most vignetting problems, and in this case, the well-under one-stop of corner shading showing at f/5.6 will seldom be visible in images.

One-stop of shading is often considered the number of visibility, though subject details provide a widely varying amount of vignetting discernibility. Vignetting is correctable during post-processing, with increased noise in the brightened areas the penalty, or it can be embraced, using the effect to draw the viewer's eye to the center of the frame. Study the pattern shown in our vignetting test tool to determine how your images will be affected.

Lateral (or transverse) CA (Chromatic Aberration) refers to the unequal magnification of all colors in the spectrum. Lateral CA shows as color fringing along lines of strong contrast running tangential (meridional, right angles to radii), with the mid and especially the periphery of the image circle showing the most significant amount as this is where the most significant difference in the magnification of wavelengths typically exists.

With the right lens profile and software, lateral CA is often easily correctable (often in the camera) by radially shifting the colors to coincide. However, it is always better to avoid this aberration in the first place.

Color misalignment can be seen in the site's image quality tool, but let's also look at a worst-case example. The image below is a 100% crop from the extreme top left corner of an a1 frame showing diagonal black and white lines.

Only black and white colors should be present in this image, and only minor additional colors show.

A relatively common lens aberration is axial (longitudinal, bokeh) CA, which causes non-coinciding focal planes of the various wavelengths of light. More simply, different colors of light are focused to different depths. Spherical aberration, along with spherochromatism, or a change in the amount of spherical aberration with respect to color (looks quite similar to axial chromatic aberration but is hazier) are other common lens aberrations to observe. Axial CA remains somewhat persistent when stopping down, with the color misalignment effect increasing with defocusing. The spherical aberration color halo shows little size change as the lens is defocused, and stopping down one to two stops generally removes this aberration.

In the real world, lens defects do not exist in isolation, with spherical aberration and spherochromatism generally found, at least to some degree, along with axial CA. These combine to create a less sharp, hazy-appearing image quality at the widest apertures.

The example below looks at the defocused specular highlights' fringing colors in the foreground vs. the background. The lens has introduced any fringing color differences from the neutrally colored subjects.

This result looks great.

Bright light reflecting off lens elements' surfaces may cause flare and ghosting, resulting in reduced contrast and sometimes interesting, usually objectionable visual artifacts. The shape, intensity, and position of the flare and ghosting effects in an image are variable, dependent on the position and nature of the light source (or sources), selected aperture, shape of the aperture blades, and quantity and quality of the lens elements and their coatings. Additionally, flare and ghosting can impact AF performance.

As usual for telephoto lenses, this lens shows a substantial amount of flare effects in the site's standard sun in the corner of the frame flare test, but the amount is not strong from a relative perspective.

Flare effects can be embraced or avoided, or removal can be attempted, though removal is sometimes challenging.

Two lens aberrations are particularly evident in images of stars, mainly because bright points of light against a dark background make them easier to see. Coma occurs when light rays from a point of light spread out from that point instead of being refocused as a point on the sensor. Coma is absent in the center of the frame, gets worse toward the edges/corners, and generally appears as a comet-like or triangular tail of light that can be oriented either away from the center of the frame (external coma) or toward the center of the frame (internal coma). The coma clears as the aperture is narrowed. Astigmatism is seen as points of light spreading into a line, either sagittal (radiating from the center of the image) or meridional (tangential, perpendicular to sagittal). This aberration can produce stars appearing to have wings. Remember that Lateral CA is another aberration apparent in the corners.

The image below is a 100% crop taken from the top-left corner of an Alpha 1 image captured at f/5.6.

That is another outstanding test result from this lens.

This lens has slight pincushion distortion that will seldom be noticed.

As seen earlier in the review, it is easy to illustrate the strongest blur a lens can create, and telephoto lenses are inherently advantaged in this regard. Due to the infinite number of variables present among available scenes, assessing the blur quality, bokeh, is considerably more challenging. Here are some f/11 (for diaphragm blade interaction) examples.

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The first example is a 100% crop that shows defocused highlights smoothly filled and roundly shaped. The second and third examples show full images reduced in size and looking good.

Except for a small number of specialty lenses, the wide aperture bokeh in the frame's corner does not show round defocused highlights, instead showing cat's eye shapes due to a form of mechanical vignetting. If you look through a tube at an angle, similar to the light reaching the frame's corner, the shape is not round. That is the shape we're looking at here. This image is an upper-left quadrant.

The modest corner shape truncation seen here is normal (the differing circle sizes are due to perspective). As the aperture narrows, the entrance pupil size is reduced, and the mechanical vignetting diminishes, making the corner shapes rounder.

An 11-blade count diaphragm will create 22-point sunstars (diffraction spikes) from point light sources captured with a narrow aperture. Generally, the more a lens diaphragm is stopped down, the larger and better shaped the sunstars tend to be. Unfortunately, a narrow max aperture lens does not afford much stopping down before reaching apertures where diffraction causes noticeable softening of details, and these lenses typically do not produce the biggest or best shaped sunstars, especially when a high number of aperture blades reduces the angles between each.

This lens is challenged to create sunstars, even at f/16, as illustrated above.

The design of this lens, featuring three FLD elements and two SLD elements, is illustrated above.

The bottom line is that the Sigma 500mm F5.6 DG DN OS Sports Lens delivers exceptional image quality.

Focusing

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Accurate focus is critical for most images and especially for the "Sports" and wildlife opportunities this lens will frequently be directed toward, and most of us rely on autofocus for that task. This lens features an HLA (High-response Linear Actuator) driven AF system.

Autofocusing is fast and quiet.

As usual, focus speed slows significantly in low light, but even with an f/5.6 max aperture, this lens can focus on strong contrast in dim scenarios.

A focus limit switch provides the full focus distance range or optionally limits the focus distance to 10.5-32.8' (3.2-10.0m) or 32.8' (10.0m) - ∞, for potentially faster focus acquisition.

Three customizable AFL (Autofocus Lock) buttons are provided and located for easy access in the normal camera orientations. With the camera set to continuous focus mode, press AFL to lock focus at the currently selected focus distance, permitting a focus and recompose technique. These buttons also act as custom buttons that can be programmed to another function using the camera's menu.

FTM (Full Time Manual) focusing is supported via Sony's DMF (Direct Manual Focus) AF mode. This lens has an AF/MF switch, allowing this frequently used camera setting to be changed without accessing the menu system.

The Sigma 500mm F5.6 DG DN OS Sports Lens has an optimally positioned, medium-sized, sharp-ribbed rubber-covered focus ring that rotates smoothly with the right amount of resistance.

This lens implements a non-linear rate of focus change, with the adjustment rate based on the ring's rotation speed. Turn the focus ring fast, and the full focus distance extents are available within about 180° of rotation. Turn the ring slowly, and about 440° of rotation traverses the focus distance range. I seldom prefer the variable rate feature interfering with rocking the ring into precise focus, but this implementation performs reasonably well, availing both quick focus distance adjustment and precise focusing.

It is normal for the scene to change size in the frame as the focus is pulled from one extent to the other. This effect is focus breathing, a change in focal length resulting from a change in focus distance. Focus breathing impacts photographers intending to use focus stacking techniques, videographers pulling focus (without movement to camouflage the effect), and anyone critically framing while adjusting focus.

This lens produces a significant change in subject size through a full-extent (worst-case) focus distance adjustment.

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This lens has a minimum focus distance of 126.0" (3200mm), where it generates a mediocre 0.17x maximum magnification spec, as is typical for long prime lenses.

Model	Min Focus Distance		Max Magnification
Canon RF 100-500mm F4.5-7.1 L IS USM Lens	35.4"	(900mm)	0.33x
Canon EF 500mm f/4L IS II USM Lens	145.7"	(3700mm)	0.15x
Sigma 60-600mm F4.5-6.3 DG DN OS Sports Lens	17.7"	(450mm)	0.42x
Sigma 150-600mm f/5-6.3 DG DN OS Sports Lens	22.8"	(580mm)	0.34x
Sigma 500mm F5.6 DG DN OS Sports Lens	126.0"	(3200mm)	0.17x
Sigma 500mm f/4 DG OS HSM Sports Lens	157.5"	(4000mm)	0.15x
Sony FE 200-600mm F5.6-6.3 G OSS Lens	94.5"	(2400mm)	0.20x
Sony FE 600mm F4 GM OSS Lens	177.6"	(4510mm)	0.14x
Tamron 150-500mm f/5-6.7 Di III VC VXD Lens	23.6"	(600mm)	0.32x

A subject measuring approximately 8.0 x 5.3" (203 x 135mm) fills a full-frame imaging sensor at this lens's minimum MF distance. For example, the handsome pair of daffodil flowers were captured at minimum focus distance:

Ditto for this blue jay:

Mount an extension tube behind this lens to modestly decrease the minimum focus distance and increase the magnification. As of review time, Sony does not publish extension tube specs or manufacture these items, but third-party Sony-compatible extension tubes are available.

The L mount version of this lens is compatible with Sigma teleconverters. Unfortunately, the Sony E mount version is not.

Design & Features

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"Sports" lenses feature Sigma's most durable construction, ready for the rigors of professional use. Using High-precision TSC & magnesium parts enables robust build quality while maintaining an ultra-light weight.

"TSC is a state-of-the-art polycarbonate that is designed to be both lightweight and extremely durable, and its chemical makeup means it doesn't shrink or expand with changing temperatures. This material is so high-quality that we're also incorporating it into our Art and Sports lenses to provide lightness and thermal consistency." [Sigma]

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This lens is long and narrow, with a wide flare outward at the objective end. Note that the outward flare significantly increases the lens's width dimension, disguising the compact overall size of this lens.

This lens features 6 easy-to-use switches.

The iris click and lock buttons are flush mounted toward the front of the lens, and the other 4 buttons are flush mounted midway on the barrel. A white background on the AF/MF and two iris switches visually indicate their enabled positions. The other 3 switches are 3-position types. While it is easy to misposition 3-position switches, firm resistance and solid clicks provide aids in position selection of these switches.

The Leica L-mount lens allows customization of the custom switch via Sigma's USB dock.

Sigma Sports lenses feature a dust- and splash-resistant structure.

The front lens element is coated to repel fingerprints, dust, water, oil, and other contaminants and make cleaning considerably easier.

In general, Sigma does not target light weight for Sports lens designs, but this lens gets it. While you will know that a 3 lb lens is in hand, that weight is quite low for the focal length and aperture availed.

Model	Weight oz(g)		Dimensions w/o Hood "(mm)		Filter	Year
Canon RF 100-500mm F4.5-7.1 L IS USM	48.2	(1365)	3.7 x 8.2	(93.8 x 207.6)	77	2020
Canon EF 500mm f/4L IS II USM	112.6	(3190)	5.7 x 15.1	(146.0 x 383.0)	DI 52	2011
Sigma 60-600mm F4.5-6.3 DG DN OS Sports	87.7	(2485)	4.7 x 11.1	(119.4 x 281.2)	105	2023
Sigma 150-600mm f/5-6.3 DG DN OS Sports	74.1	(2100)	4.3 x 10.4	(109.4 x 263.6)	95	2021
Sigma 500mm F5.6 DG DN OS Sports	48.2	(1365)	4.2 x 9.3	(107.6 x 236.6)	95	2024
Sigma 500mm f/4 DG OS HSM Sports	116.8	(3310)	5.7 x 15.1	(144.8 x 380.3)	DI 46	2016
Sony FE 200-600mm F5.6-6.3 G OSS	74.8	(2120)	4.5 x 12.5	(115.5 x 318.0)	95	2019
Sony FE 600mm F4 GM OSS	107.3	(3040)	6.4 x 17.7	(163.6 x 449.0)	DI 40.5	2019
Tamron 150-500mm f/5-6.7 Di III VC VXD	60.9	(1725)	3.7 x 8.3	(93.0 x 209.6)	82	2021

For many more comparisons, review the complete Sigma 500mm F5.6 DG DN OS Sports Lens Specifications using the site's lens specifications tool.

Here is a visual comparison:

Positioned above from left to right are the following lenses:

Sigma 500mm F5.6 DG DN OS Sports Lens
Sigma 150-600mm f/5-6.3 DG DN OS Sports Lens
Sigma 60-600mm F4.5-6.3 DG DN OS Sports Lens
Sony FE 200-600mm F5.6-6.3 G OSS Lens

Use the site's product image comparison tool to compare the Sigma 500mm F5.6 DG DN OS Sports Lens to other lenses visually.

Filters for this lens's 95mm threads are large and expensive, but some prefer these over the drop-in variants that are otherwise necessary.

While this lens is easily handheld, supporting it on a tripod or monopod still has value, and the included tripod ring greatly enhances the mounted experience. The included tripod ring is smooth functioning and solidly built. While the ring is not removable, the foot can easily be removed via 4 screws. Remove it for comfort and a bit of weight savings if not mounting the lens on a support or otherwise using the foot.

Especially nice is the built-in Arca-Swiss-compatible dovetail, allowing the lens to mount in a wide variety of tripod head quick-release clamps and adding compatibility with a wide range of accessories, including flash brackets. Note that some non-adjustable lever clamps may not lock tightly to this dovetail design. The "standard" is apparently not strict or not adhered to.

The tripod ring's short-throw metal lock knob is conveniently positioned for use. The ring rotates smoothly, including no slip-stick behavior until the ring is fully locked. Helpful click stops are provided at 90° rotation settings, with marks visually indicating the same.

Barely adequate finger space is provided between the foot and the lens, including for using the tripod foot as a short handle.

The large Sigma LH1034-02 hood, featuring rigid CFRP (carbon fiber reinforced plastic) construction, a large, knurled metal thumbscrew lock, and a mold-ribbed interior is included in the box. The flat end of the hood permits the lens to be placed upright on a smooth surface, such as for relieving your arms while shooting handheld. The rubberized surface on the end of the hood avoids scratching the hood or the surface the lens is sitting on, avoids slippage on the resting surface, and permits a better hand grip on the hood during installation and removal. This hood affords significant protection from flare-inducing light and impact, including from dust and rain.

A nice zippered padded nylon case with a removable neck strap is provided.

Price, Value, Wrap Up

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The Sigma 500mm F5.6 DG DN OS Sports Lens is expensive, but it is far less expensive than the nearest-compatible 1-stop wider aperture models. Its compact size, light weight, impressive image quality, and overall high performance make this lens a great choice and worth its price.

The Sigma 500mm F5.6 DG DN OS Sports Lens is compatible with all Sony E-mount cameras, including APS-C sensor format models, and it is also available in the L mount for Sigma, Panasonic, and Leica cameras. "DG" refers to full-frame camera compatibility, and "DN" indicates that this lens was designed for short-flange mirrorless cameras.

Made in Aizu, Japan, each Sports lens is tested with Sigma's proprietary MTF measuring system, ensuring a quality product. Regarding the Sony E-mount version of this lens, Sigma develops, manufactures, and sells lenses based on the specifications of the E-mount, disclosed by Sony Corporation under license agreement.

Sigma provides a 1-year limited warranty, and Sigma Corporation of America provides a limited 3-year warranty extension.

The reviewed Sigma 500mm F5.6 DG DN OS Sports Lens was on loan from Sigma Corporation of America.

Alternatives

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Many lenses can be used in place of the Sigma 500mm F5.6 DG DN OS Sports Lens, but at review time, there are no direct Sony-mount comparable lenses available. Let's go with the impressive Sony FE 200-600mm F5.6-6.3 G OSS Lens for the first comparison.

The image quality comparison with wide-open apertures selected shows the two lenses performing similarly throughout most of the frame. The Sigma prime has a slight sharpness advantage in the periphery, primarily due to modest lateral CA in the Sony lens. The Sigma lens shows less pincushion distortion and modestly less flare effect.

The zoom lens has a huge focal length range advantage, but the Sigma 500mm F5.6 DG DN OS Sports vs. Sony FE 200-600mm F5.6-6.3 G OSS Lens comparison shows the size and weight cost for that advantage. The Sigma prime is far lighter and smaller, and it has a 1/3 stop wider aperture at 500mm. The Sony lens costs 2/3 as much, a difference that is also noticeable.

Sigma has a pair of zoom lenses covering the 500mm focal length, so let's compare one of them next. I'll pick the Sigma 150-600mm f/5-6.3 DG DN OS Sports Lens.

The image quality comparison shows the prime lens having a noticeable advantage. The prime lens also shows less pincushion distortion.

The Sigma 500mm F5.6 DG DN OS Sports vs. 150-600mm f/5-6.3 DG DN OS Sports Lens comparison shows the prime lens weighing far less and having considerably less volume. The zoom lens holds a huge focal length advantage, and the prime lens has a 1/3 stop wider aperture at 500mm. The prime lens has 11 aperture blades vs. 9, and it has a 1 stop higher OS rating. The zoom lens's maximum magnification spec is 2x the prime's, 0.34x vs 0.17x, and costs considerably less, 3/4 as much.

How does the Tamron 150-500mm f/5-6.7 Di III VC VXD Lens measure up?

The prime lens shows itself having a clear sharpness advantage in the image quality comparison. The Sigma lens has less peripheral shading, flare effects, and pincushion distortion.

Reaching to only 500mm, the Tamron zoom is smaller and lighter than the last two zoom lenses we compared. Still, the Sigma 500mm F5.6 DG DN OS Sports Lens vs. Tamron 150-500mm f/5-6.7 Di III VC VXD Lens comparison shows the prime lens holding a substantial size and weight advantage. The Tamron lens has 82mm filter threads vs. 95mm. The Sigma lens has 11 aperture blades vs. 7 and an over 1/3 stop wider aperture. The Tamron lens's maximum magnification spec is nearly 2x the Sigma's, 0.32x vs 0.17x, is compatible with extenders, costs far less, and has a huge focal length advantage.

Use the site's tools to create additional comparisons.

Summary

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High-quality sports and wildlife photography primarily requires long focal length lenses that are big, heavy, and extremely expensive — they are not fun to carry or pay for. This lens is different. If you want an impressively sharp, compact, lightweight, robustly built, high-performance super-telephoto prime lens that is well suited for outdoor wildlife, sports, and aviation photography, the Sigma 500mm F5.6 DG DN OS Sports Lens has your name on it.