According provided by lens Sigma Zoom 17-50mm 1: 2.8 EX DC OS HSM (FLD glass, Nikon mount F) huge thanks to Pavel.
Sigma Zoom 17-50mm 1: 2.8 EX DC OS HSM
Sigma Zoom 17-50mm 1: 2.8 EX DC OS HSM is a fast full-time zoom for cropped cameras of various systems. I reviewed the version for Nikon DX cameras, so when buying such a lens, pay attention to which system it is made for. The lens is suitable for all Nikon cameras, even the simplest ones, without a focus motor.
Main technical characteristics of Sigma Zoom 17-50mm 1: 2.8 EX DC OS HSM:
| Review Instance Name | The following inscriptions are on the lens barrel, near the front lens 'Sigma Zoom 17-50mm 1: 2.8 EX DC OS HSM Ø 72 LENS MADE IN JAPAN', on the lens barrel 'Sigma DC 17-50mm 1: 2.8 EX HSM Optical Stabilizer' |
| Basic properties |
|
| Front Filter Diameter | 77 mm |
| Focal length | 17-50 mm EGF for Nikon DX cameras is 25.5-75 mm |
| Zoom ratio | 2.94 X (usually rounded to 3) |
| Designed by | for Nikon DX digital cameras, there are modifications for other systems (Sigma, Canon, Pentax, Sony) |
| Number of aperture blades | 7 petals |
| Tags | focusing distance in meters and feet, focal lengths for 17, 21, 28, 35, 50 mm, mark of bayonet mount and mount / fix hood. |
| Diaphragm | control is via the camera menu (analog Nikon G - lens type) F / 2.8-F / 22 aperture over the entire focal length range |
| MDF | 0.28 m, maximum magnification ratio 1: 5 |
| The weight | 565 g |
| Optical design | 17 elements in 13 groups. The scheme includes:
|
| Lens hood | Bayonet type, plastic, with the possibility of installation in transport mode |
| Manufacturer country | LENS MADE IN JAPAN (Lens made in Japan) |
| Production period | C February 2010. In April 2013 augmented by a lens Sigma DC 18-35mm F1.8 HSM A (ART) |
| Price |
Sigma 17-50 / 2.8 is intended to be a relatively cheap replacement for 'native' lenses - Nikon AF-S Nikkor 17-55mm 1: 2.8G ED IF SWM DX и Canon Zoom Lens EF-S 17-55mm 1: 2.8 IS USM.
Sigma Zoom 17-50mm 1: 2.8 EX DC OS HSM
The Sigma 17-50 / 2.8 is a good weighty lens with a huge front lens that uses 77mm filters. The lens is made in Japan, the copy from my review does not have any obvious backlash, and the lens trunk does not spontaneously protrude. The lens has a metal mount and a special zoom lock at 17mm - 'Lock'. But from the side of the bayonet in the lens, you can see its entire electronic soul with boards, springs and other insides. I am concerned that access to such lens elements has not been blocked. And three more screws on the inner sections of the lens, which are located behind the front lens, do not look very good.
Sigma Zoom 17-50mm 1: 2.8 EX DC OS HSM
Sigma 17-50 / 2.8 - has fast auto focusalmost the same as the native Nikon 17-55 / 2.8... The high focusing speed is most likely due to the low travel of the focusing ring, which rotates only 45 degrees. I notice that virtually all of these third-party lenses 'save' on either the focus ring or the normal focus motor.
Auto focus is not only fast, but also enough silent. Noise level is several times lower than that of Tamron 17-50 / 2.8 и Tamron 17-50 / 2.8 VC, all thanks to HSM.
Sigma Zoom 17-50mm 1: 2.8 EX DC OS HSM
When focusing and zooming, the front the lens does not rotate, with filters should not be any problems. The focus ring and zoom are rubberized. During zoom, only one lens section extends. The minimum focusing distance is only 28 см, which will allow you to get macro pictures with an increase of 1: 5, which is pretty good for this kind of lens. Sigma 17-50 / 2.8 has a focus distance scale and a zoom position scale.
Bad that the lens does not support continuous manual focus control, but in order to focus manually, you need to switch the lens to the 'M' mode using the 'AF M' switch. Failure to do so could damage the lens motor.
The lens has a 7-blade aperture, which closes to a maximum of F / 22 over the entire range of focal lengths.
Sigma Zoom 17-50mm 1: 2.8 EX DC OS HSM
The lens comes with a wonderful case and lens hood. The hood can be worn back and forth, while maintaining low access to the focus ring, even 17 mm.
The inside of the lens. Several boards in two rows.
Of course, one of the main features of the lens is the image stabilization system, which allows take off at longer values excerpts... There is a special mode switch on the lens barrel - 'OS ON OFF'. I may be nitpicking, but generally stabilized lenses will freeze the jitter a little. JVIthat I did not see with this lens.
The instructions somehow incomprehensibly say that the stabilizer is powered by the camera even in the 'OFF' mode within a minute after turning on the camera or after pressing the focus and / or metering button exposure, or during the time while the metering is working. If you listen closely, you can indeed hear a slight noise in the middle of the lens, even with the stabilizer in the 'OFF' position. When you press the focus button, the noise just increases - apparently the stabilizer starts working at full power. This oddity can seriously affect the lifespan of a camera battery. I think this method of OS implementation is not logical. Stabilizer on the lens SIGMA C 17-70mm 1: 2.8-4 DC OS HSM MACRO works in a similar way.
Important: when the lens is removed from the camera, or when the camera is turned off, if you shake the Sigma 17-50 / 2.8 OS a little, you will clearly hear a noise in the middle, as if something had fallen off there. This is normal lens behavior, and the lens group responsible for stabilization is noisy, in the off state the lenses are not 'suspended' in the magnetic field.
Sigma Zoom 17-50mm 1: 2.8 EX DC OS HSM
The lens was stuffed with 2 FLD glass elements and 2 aspherical elements.
Sigma Zoom 17-50mm 1: 2.8 EX DC OS HSM
In work, Sigma 17-50 / 2.8 proved to be quite good. Focus misses are rare, but still happen. The sharpness in the center of the frame pleasantly surprised me. But on the edges of the frame, everything is not so good, and vignetting in the wide-angle range on open diaphragms. And of course, strong barrel-shaped distortion of 17mm. If you close the aperture below F / 4.0, then it's a sin to complain about the lens.
The parameters shown in the photo gallery:
Everything is filmed on Nikon D80. EGF is 25,5-75 mm. On-camera JPEG L fine without treatment, reduced size to 3 MP. Everything was shot in N (Neutral) Picture Control. The long exposure noise reduction function and high ISO noise reduction function were turned off.
Sigma Zoom 17-50mm 1: 2.8 EX DC OS HSM
I used the lens data for several months on the camera Nikon D90 and left only positive impressions. Below are pictures from real photo tasks:
All fast universal zoom lenses
Below is a list of all such aperture-type universal zoom autofocus lenses for SLR and mirrorless cameras with an APS-C sensor or less.
Tokina (DX, various mounts)
- Tokina AT-X PRO SD 16-50 F2.8 DX Internal Focus, model AT-X 165 PRO DX, for Canon (C/EF version) and Nikon (N/AIS version), from July 2006. Optical design is the same as Pentax SMC DA* 16-50mm f/2.8 ED AL (IF) SDM
Tamron (DI II, DI III-A, various mounts)
- Tamron Aspherical LD XR DI II SP AF 17-50 mm 1: 2.8 [IF], model A16 N / E / P / S (under Nikon [N], Canon [E], Pentax [P], Sony / Minolta [S]), since February 2006. Produced in Japan, China and Vietnam
- promaster DIGITAL XR EDO AF Ashperical LD [IF] 17-50 mm 1: 2.8 MACROprevious lens under the brand Promaster
- Tamron Aspherical LD XR DI II SP AF 17-50 mm 1: 2.8 [IF], model A16 NII (only for Nikon cameras), since March 2008
- Tamron Di II SP 17-50 mm F / 2.8 VC B005, model B005 E / NII (for Canon [E] or Nikon [NII]), from September 2009, Japan or China)
- Tamron 17-70 mm F / 2.8 Di III-A VC RXD Model B070, Model B070, Sony E only, from December 2020
Sigma (DC, different mounts)
With constant maximum aperture (DC EX and DC ART series):
- Sigma DC ZOOM 18-50mm 1: 2.8 EX (+ -D), since July 2004, for Sigma SA, Nikon F, Canon EFS, Pentax K. The version for the '4/3' system has been available since February 2006 (not mass-produced). The version for Nikon in its name includes the prefix 'D'.
- Sigma dc 18-50mm 1: 2.8 EX MACRO, since September 2006, for Sigma SA, Nikon F, Canon EFS, Pentax K, 4/3
- Sigma dc 18-50mm 1: 2.8 EX MACRO HSM, since June 2007, for Nikon DX cameras only (Nikon F mount)
- Sigma dc 17-50mm 1: 2.8 ZOOM EXOS HSM, from February 2010, for Sigma SA, Nikon F, Canon EFS, Pentax K, Sony / Minotla A
- Sigma dc 18-35mm F1.8 A [ART, HSM], from April 2013, for Sigma SA, Nikon F, Canon EFS, Pentax K, Sony / Minotla A
- SIGMA DC 18-50 mm 1: 2.8 DN C [Contemporary], since Oct 2021, for Sony E, Leica L
With variable maximum aperture (DC and DC Contemporary series):
- Sigma dc 17-70mm 1:2.8-4.5, February 2006, for Sigma SA, Nikon F, Canon EFS, Pentax K, Sony / Minotla A
- Sigma dc 17-70mm 1:2.8-4.5 MACRO HSM, from July 2007, for Nikon DX cameras only (Nikon F mount)
- Sigma dc 17-70mm 1:2.8-4 MACRO HSM OS, from December 2009, for Sigma SA, Nikon F, Canon EFS, Pentax K, Sony / Minotla A
- Sigma dc 17-70mm 1:2.8-4 C, [MACRO, OS, HSM, Contemporary], from September 2012, for Sigma SA, Nikon F, Canon EFS, Pentax K, Sony / Minotla A
- Sigma dc 18-50mm 1:2.8-4.5 HSM OS ZOOM, from March 2009, for Sigma SA, Nikon F, Canon EFS, Pentax K, Sony / Minotla A
Nikon (DX, F mount)
- Nikon DX VR AF-S Nikkor 16-80mm 1:2.8-4E ED N, Nikon F mount, from July 2015
- Nikon DX AF-S Nikkor 17-55mm 1: 2.8G ED IF SWM, Nikon F mount, from July 2003
Pentax (DA, Q, K and Q mounts)
- Pentax SMC DA * 16-50 mm 1:2.8 ED AL (IF) SDM, Pentax KAF2 mount, since February 2007. Optical design is similar to the lens Tokina AT-X PRO SD 16-50 F2.8 DX Internal Focus (joint development of Tokina and Pentax)
- HD PENTAX-DA * 1: 2.8 16-50 mm ED PLMAW, from July 2021, Pentax KAF4 mount
- HD Pentax-DA 1: 2.8-4 20-40 mm ED Limited DC WR, Pentax KAF3 mount, black or silver body, from November 2013
- SMC Pentax 1: 2.8-4.5 5-15 mm ED AL [IF] [LENS 02], Pentax Q mount (crop factor Kf=5.53X or Kf=4.65X)
Canon (EFS, EF-S mount)
- Canon Zoom Lens EF-S 17-55mm 1: 2.8 IS USM (Image Sabilizer, Ulstrasonic, EFS), Canon EF-S mount, since May 2006
Sony (DT, A and E mounts)
- Sony DT 2.8/16-50 SSM, Sony A mount (Minolta A), since August 2011
- Sony E 2.8/16-55G (Sony SEL1655G), Sony E bayonet mount, from August 2019
Fujifilm(X)
- Fujinon Ashperical Lens Nano-GI XF 16-55mm 1: 2.8 R LM WR, Fujifilm X mount, since January 2015
- Fujinon Ashperical Lens Super EBC XF 18-55mm 1:2.8-4 RLM OIS, Fujifilm X mount, September 2012
Samsung (NX)
- Samsung lens 1: 2-2.8 S 16-50 mm ED OIS i-Function, Samsung NX mount, since January 2014
Olympus/Panasonic/Leica/Yongnuo (4/3, Micro 4/3, Kf=2X)
Mirrored 4/3:
- OLYMPUS ZUIKO Digital 11-22 mm 1:2.8-3.5, from February 2004
- OLYMPUS Digital 14-54 mm 1:2.8-3.5, from June 2003
- OLYMPUS Digital 14-54 mm 1:2.8-3.5 II, from November 2008
- OLYMPUS ZUIKO Digital 14-35 mm 1: 2 ED SWDsince January 2005
- Panasonic Lumix LEICA D VARIO-ELMARIT 1: 2.8-3.5 /14-50 ASPH. MEGA OIS, from July 2006
Mirrorless Micro 4/3:
- OLYMPUS M.ZUIKO DIGITAL 12-40 mm 1:2.8 PRO, since October 2013
- Panasonic Lumix Leica DG Vario-Summilux 10-25 mm f / 1.7 ASPH.since May 2019
- LUMIX G VARIO 1: 2.8 /12-35 ASPH. POWER OIS, since June 2012, in March 2017 an improved sub-version is released (outwardly they do not differ in any way)
- Panasonic Lumix Leica DG Vario-ELMARIT 1: 2.8-4.0 /12-60 ASPH., since March 2017
- Yongnuo 12-35 F2.8-4 STM ASPH, since April 2023
Price
You can see the prices for this lens. on E-Katalog at this link.
Comments on this post do not require registration. Anyone can leave a comment. Many different photographic equipment can be found on AliExpress.
In general, I liked Sigma Zoom 17-50mm 1: 2.8 much more than its counterparts from Tamron, especially the quiet focus motor and the diameter of the front filter. The diameter of the filter, equal to 77 mm, is considered a professional standard, under which an experienced photographer over time selects a fleet of filters.
Sometimes, when working in the cold, the focus motor starts to buzz / whistle, and the focus itself can take much longer.
Results
If you find a good copy of Sigma Zoom 17-50mm 1: 2.8 EX DC OS HSM, then such a lens will be an excellent staffer for every day and will even cope with more or less difficult tasks. The lens is attracted by a constant aperture value of F / 2.8 across the entire range of focal lengths, an image stabilizer, and fast and quiet auto focus.
Material prepared Arkady Shapoval. Training/Consultations | Youtube | Facebook | Instagram | Twitter | Telegram
friends what is better nikon 18-70 or sigma 17-50?
Look, as an option, Sigma 17-70 Comtemporary- it will be lighter than Nikon.
(http://market.yandex.ru/product/10405114/?hid=90613)
I repent with the 17-70 Comtemporary f2.8-4. Doughe is good. Mav Tamron 17-50 ZІ STABOM, selling, more picture girsha, milnіsha, trohi mensha krntrastnіst- svitlosila yogo not ryatuє.
Sigma 17-70 Comtemporary connects to the dock?
So, already found what is connected. Then another question: have you adjusted the glass on the dock under your carcass? And maybe someone knows, this glass on the Nikon D7100 has a glitch of image scrolling when viewing, as we say Sigma 17-50?
After the release of firmware 1.02 for the d7100, there are no more glitches with sigma 17-50
And with other Sigma there are no glitches? I have firmware 1.01, and on the travel 18-250 Scrolling images is buggy (due to the stub rather like others), although otherwise everything is fine. Does it make sense to update the firmware?
Hello . Please tell me you wrote that you found that
Sigma 17-50 connects to dock for alignment. Link please . Have you tried it yourself?
I didn’t use my sigma 17-70C - the focus on D90 is even better. There weren't any glitches.
I bought such a lens for the D5200 yesterday. The box shows support for the D5300, apparently an updated version. No delay in viewing the photo was noticed, either in normal mode or in liveview. Compared to the whale, the size and weight are certainly impressive.
Used this on the D3100 and D7100.
It works very quietly and focuses quickly, but it does not focus with a stranglehold - it can refocus a little back and forth.
The focusing ring travel is very small - it is difficult to focus in manual mode.
The zoom ring does not move very smoothly, but a little taut, for a photo it is not a problem at all, when shooting a video, zooming slowly will not work - it will be jerky.
The complete hood is normal and sits tight - you just need to learn how to screw it in correctly, if you screw it in correctly, it clicks a little at the end. If the hood is not screwed in correctly, it can easily fly off.
High-quality plastic.
The lens is rather large and heavy for its focal lengths - it may not suit everyone, hands can get tired from habit.
Much has been written about its stabilizer. Doesn't work like a native. It remains to work for a while, even if you turn it off and there may be problems with flipping through photos and a screen that does not go out for 1 minute - not a problem for me.
Due to this, it eats a battery much stronger than relatives.
As for me, the stabilizer works strangely, sometimes it’s really possible to take sharp pictures at 1/4 at 50mm, sometimes it’s blurry at 1/1000. I don’t understand why this is happening.
The image quality is very good. Very sharp, I would even say too sharp.
Aperture 2.8 is absolutely working, when studying photos at 100% magnification at aperture 2.8, the sharpness is even higher than 4.0 and more - I don't know what this is about.
In most cases, the color conveys normally, but under certain circumstances in bright sunlight and mixed lighting, the skin color makes some kind of brown-orange. I did not understand the patterns.
The bokeh is interesting, but somehow not soft, but sharp, and objects in the out-of-focus area can appear blurry, but with sharp contours - generally not for everybody.
Virtually no chromate. Compared with 50 1.8G and 85 1.8G.
So these native lenses are godlessly chromate on open lenses compared to this lens.
On the D3100, the white balance was normal; on the D7100, it became clearly yellow.
Backlight holds very well, glare is very rare.
On the D3100, it got into focus very well, a slight back focus was noticeable, but bearable and predictable. With an aperture of 4.0 or more, it got into focus as it should.
On the D7100 (which already has its own small back focus, adjusted in the settings), it became more difficult to get into focus. It took a long time to experiment with adjusting autofocus - but reliable autofocus across the entire zoom range and focusing distances was not achieved. If you adjust the autofocus accurately for 50mm and a focusing distance of 3 meters, then when focusing at 1m, there will be back focus, when focusing at 5m, there will be front focus. In principle, it is tolerable and noticeable only if viewed carefully, but unpleasant. Perhaps an adjustment would help, but this should be looked for where they are doing it and can guarantee the result. If anyone can tell you where there is a normal official Sigma service center in Ukraine, I will be grateful.
In dark rooms, autofocus does not work very well (whale dark gets into focus better) - I do not know what is the reason.
Naturally, this all applies to phase autofocus; in LiveView it always gets accurately and in any conditions, but slowly.
With on-camera flashes, the exposure is not always correct, but the problem of a flash rather than a lens is quite possible (although exposure with a whale lens is more predictable with the same flash)
If we summarize everything, we get that it is a very good lens for the money, but you need to take into account all the nuances about it and ALWAYS try on it for your carcass and test it very carefully.
Thank you for such a detailed report about the lens. I would be grateful if you post here a couple of photos taken on the D7100. I select the normal zoom for myself under this camera.
I also use this Sigma on the D3100 and D7100 and I don’t see any mistakes, basically it stands on the D7100 instead of a staffer and to be honest I don’t even remember that Sigma 17-50 once smeared or missed. It’s a good all-rounder, as for landscape and for reporting.
I used this lens on the D200 and D7100, and also compared with the Nikon AF-S Nikkor 17-55mm 1: 2.8G ED IF DX, on the same carcasses. Nikon's image seems more voluminous and, in my opinion
the look is noticeably more realistic. Sigma's picture is a little drier and, if you look closely, there is a tan. The lens is not bad, although only for its niche.
inexpensive.
Added photos.
Everything was shot on the D3100 and everywhere there was a little back focus.
The quality was affected by pinching up to 1 MB.
.
..
...
....
.....
.......
..........
By my standards, this is a marriage. Hard light is something with a white balance, saturation.
-
—
—
-
—–
I think that you need to increase the size of the maximum upload file, add the ability to batch upload and add at least 10 photos to one message - otherwise, one at a time is very inconvenient and then looks like a fountain
There will be no batch download. The download size will not be increased. The reason is the load on the site.
add the ability to add up to 10 (8 or whatever is convenient) photos in one message - as for me, it will improve the perception and will not increase the load on the server
Stopudovo will increase the load. Two large sites themselves were on administration, it happened that even a server went into a stupor when, after the weekend, people started spreading their reports with a bunch of pictures. Although basically the processor eats the operation of scaling (downsizing), if the pictures are stored on the server without conversion, the resources are eating an order of magnitude smaller.
nafig do not .. spam.
In my opinion, it is a wonderful staff, there are no complaints about it at all.
Another example is D7000, F8. Above example at 2.8
I’ve been using it for 4 years, the flight is normal, 120.000 frames were shot on it, it was slightly loose, without problems. Great lens, I bought one more in stock.
Gentlemen, Connoisseurs of light painting. I charge you for help. I shoot after the first whale, for about a year already 50 1.8g. I lean towards the zoom. But ... I'm pretty poor, and I would like not to repeat myself with focal points in vain. Is there any sense to duplicate 50mm, or give preference, say, 15-35 tokens or something like that. The last purchase will be 85 or 105. Here is the question. Should I be afraid of dubbing focal points? Or was it I already got mad out of greed)? Thank you all!
In the photo there is a lake. It is shrouded on both sides with picturesque bushes, but there wasn’t enough corner (