One Year Later: Sony 1.4x Teleconverter Paired With The Sony 200-600mm
After a year of using the 1.4x teleconverter with the Sony 200-600mm G Lens and my Sony A7iv, I’m ready to share my final verdict. From overcoming unexpected challenges to capturing some of my favourite wildlife images, this review dives into the highs and lows of this complex setup. Whether you're considering a teleconverter for yourself or just curious about the results, I’ll help you understand what it’s really like to use this combination.
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I recently captured this photo with the teleconverter on a hot sunny day, and, well… it’s pretty bad, isn’t it? I was expecting a tack-sharp image of the wood duck but ended up with a hazy, out-of-focus mess. This experience made me question the real value of pairing the teleconverter with the 200-600. Is it worth it?
840mm | 1/1600 sec | f/9 | ISO 1000
I rushed over to my computer, opened Lightroom, and filtered all images by the teleconverter. I was immediately taken back to last summer and some of my best images that I completely forgot were even captured using this combination. Starting with my all-time favourite subject, the Great Blue Heron. In this photo, as the sun began to set behind the trees, using a tripod and an extremely low shutter speed was essential to achieve the shot. The bokeh in the background is rendered smoothly, maintaining sharpness in the subject and even the rock it stands on.
840mm | 1/4 sec | f/9 | ISO 160
For this next photo, I spent a month trying to capture a close-up of the Belted Kingfisher. When I finally got a short window of opportunity, the teleconverter didn't disappoint, allowing me to capture this shot on a warm sunny day, just before the kingfisher flew off again. Like the first image, everything important is clearly in focus, while the background remains blurred out.
840mm | 1/1600 sec | f/9 | ISO 2000
Here’s one more, and probably my most popular image of the summer, for obvious reasons! To capture this adorable portrait, I angled my camera up at nearly 90 degrees, with the sun shining through the tree and backlighting the subject. Despite cropping the image an additional 45%, it still retains sharpness and detail.
840mm + 45% crop | 1/160 sec | f/9 | ISO 1600
So, why exactly was my most recent image so disappointing? To understand this, let's dive into the technical details of the TC paired with the 200-600, examining both its strengths and its shortcomings. Starting with build quality, the teleconverter is constructed from high-quality metals and plastics, ensuring it attaches securely to both the lens and camera body. Its texture and paint are designed to match the 200-600, and weighing just 169 grams, it integrates seamlessly, maintaining the lens’s balance and handling.
The 1.4x TC is just 33.6mm (1 8/25”) thick
The total length of the lens with the lens hood and TC attached is approximately 43.4 cm (17”).
With the 1.4x teleconverter attached, the lens becomes a 280-840mm focal length. The TC also increases the variable f-stop from the lens's original f/5.6 - f/6.3 to f/8 - f/9. This change means that more light is needed to achieve the same exposure levels as before.
One of the reasons I wanted a teleconverter in the first place was for its effect on the magnification of the lens. Without the TC, this lens has a maximum magnification of 0.20x, which increases to 0.28x with the TC attached. This combination can reproduce a subject at nearly one-third of its actual size on the sensor. Of course, this isn’t anywhere near macro capabilities, but it will allow you to increase the size of those close subjects just a little more than before.
Check out these two images below. I set up the 200-600 approximately 2.4 meters away from Juniper, my bearded dragon—that's the minimum focusing distance for this lens. In the second image, without altering the camera's position, I attached the 1.4x TC to visually demonstrate the difference. Keeping in mind that I am shooting through glass, both images remain equally sharp, with the ISO bumping up just a little to compensate for the loss of light.
You’re probably wondering about the autofocus performance. In well-lit environments, the lens behaves relatively the same as it would without a teleconverter. In the example below, the Sony a7iv has no issues finding the Grey catbird and locking onto its eye. Then I show an example of how quickly the autofocus can shift from the background to the frog, and back again.
One more photo that demonstrates this combination's ability to focus on fast-moving subjects. A high shutter speed was required to capture the Ruby throated hummingbird, and with the lens sitting at f/9, that left the ISO to do all the heavy lifting. Some post-processing was required to get the most out of this image.
840mm | 1/1250 sec | f/9 | ISO 12800
With some of the pros and cons considered, it’s time to dive into why exactly that first image was so disappointing. While the autofocus generally locks onto its subject without issue, the keeper rate of photos can be lower. This is especially true in bursts of shots during movement or action, where fewer photos end up being sharp. In this example, the wood duck briefly paused in front of me and the camera locked onto his eye. However, the camera slightly missed focus, resulting in a missed opportunity to capture the perfect shot of this drake.
840mm + 60% crop | 1/400 sec | f/9 | ISO 1000
You could argue that it was user error on my part and that shooting 1/400 of a second was the wrong call. Which showcases the dilemma that you may face with the loss of light at f/9. Do you accept a higher ISO, or attempt to capture sharp images at a lower shutter speed? Before the drake swam by, I was capturing sharp images of a Canadian goose without any trouble.
840mm + 65% crop | 1/400 sec | f/9 | ISO 800
Thankfully though, the Wood Duck photo doesn’t look too bad as a wide shot and with a little bit of editing the scene was truly beautiful. Just don’t crop in and pixel-peep those details!
840mm | 1/400 sec | f/9 | ISO 1000
Large telephoto lenses can be significantly affected by heat waves and haze in the air. Adding a teleconverter only amplifies any distortion or other defects in the image. Here’s an example of heat distortion with the teleconverter. Notice the details in the duck, they’re hardly visible. Then, shifting your eyes to the background, the bokeh doesn’t render very smoothly.
840mm + 65% crop | 1/1600 sec | f/9 | ISO 1000
Now, here’s a shot without the teleconverter, see the difference? The background in this photo renders out much smoother and although it’s tough to see the duck in this lighting, the details appear to be sharper.
600mm + 55% crop | 1/800 sec | f/6.3 | ISO 640
In my original review of this combination, I mentioned that increasing your f-stop to f/10 or f/11 can lead to sharper images, which holds true. This adjustment can enhance the clarity of details like feathers and even help mitigate some of the distortion caused by air conditions. However, it isn’t a foolproof solution and interestingly, all my best shots at the start of this article were taken at f/9. Which showcases the ability of the combination to be sharp even wide open.
Although I missed out on a sharp image of the wood duck this spring, I won’t be completely dismissing the teleconverter with this lens. So who exactly is this setup for then? The Sony 1.4x teleconverter is a significant investment. Those considering this addition to their gear need to weigh the benefits against the cost carefully. This setup complicates casual photography, as it requires the perfect weather conditions and a considerable amount of patience from the user. Additionally, you can expect your images to require some post-processing to reach their full potential. If you value convenience and minimal post-processing, you might want to avoid using a teleconverter with the Sony 200 - 600.
It’s important to note that the model of camera you are shooting with could produce much different results from mine. Teleconverters are largely designed for GM prime lenses. However as proven through this review, it is possible to use the 1.4x teleconverter with the Sony 200 - 600mm and capture some great results. Ultimately the decision is up to you.
Still unpacking whether or not this combination is for you? Why not check out my video, where I guide you through this information. While you’re there, don’t forget to check out some of my other content, I have a whole library of wildlife photography videos and adventures!
