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
Hello.
Tell me, can this lens affect the operation of an external (Nikon SB-910) flash? Namely, when he is dressed, the flash slowly recharges, i.e. I took a shot, I waited a second. The batteries on the flash (Eneloop Pro) just sit down instantly. The flash is always put on the camera, it’s turned off, of course))
I know and see that he is setting the camera’s battery noticeably, but I thought that this does not apply to the flash.
My specific lens instance cannot be guilty, because a friend has the same problems with absolute accuracy. He only has a D7000 and I have a D7200.
Today I became the proud owner of this lens. There is a question. The tail number is 16116744 and the warranty label says “PRINTED IN JAPAN HC130707”. You can use this information to determine when it was produced.
I bought a used lens 17-50, when you lower the lens and swing it in different directions, is there something rattling, are these design features or is there something broken off?
Already a bunch of articles about it have been rewritten that this is a feature of the design of the stub. The stabilization lens dangles when there is no magnetic field. Moreover, it hangs regardless of the position of the lens, which is up or down.
Read the article carefully. Everything is written there.
A good versatile lens, a great option as a "tripod". If you want something more authentic, you can look towards 17-70, there is a “macro”, but the aperture ratio is no longer constant, or, let's say, “constant” but with 4.0.
I use this on my “native” SD1M camera, it suits the quality quite well. Although, at some point there was a desire to replace it with 17-70.
New ones for normal money (i.e. cheaper) can be bought on eBay from the Japanese and may even be lucky with free delivery.
Good review, Arkady, thanks!
Oh, another owner of the SD-1 Merrill in Radozhiv except me :)
Such a rarity? ))) After I bought the SD1M, I sold the D810 “soap box” without regret))) Sigma promises a full-frame Foveon this year, albeit with a Leica bayonet mount. I am waiting with interest.
I am ready to cede ownership of Sigma SD1M with three lenses (17-50 1 / 2.8 50-100 1 / 1.8 Аrt 70-300 1 / 4-5.6 APO DG Macro), if someone wants to join the world of Foveon. Perhaps in the near future I will make a review on the results of using these cameras and lenses and suggest Arkady for publication on his website in the section of readers' reviews.
Denis, as the owner of the same camera, though with different lenses, I want to ask for the sake of curiosity - why are you selling?
Something did not work out with her or ran into the limits of the system?
Still, buying a camera on Foveon and everything related to it is somewhat more complicated than buying a Fuji S3 / S5 or Kodak dcs pro (at least because of its bayonet mount and closed system).
about the complexity of the purchase: now there is only one difficulty - the prices and the duty-free threshold in the E500. Otherwise, buying a Sigma is no more difficult than any other camera. there is no closeness, this is a myth blown up by someone.
there is only one reason for selling - the speed of work. for all its advantages in image quality, SD1M is very slow, both in shooting and in processing, if we are talking about x3f files. for piece photos it can be. quite acceptable, but for a more voluminous work this is already a strong loss in time, which cannot be compensated even by the quality of the picture. some things can be filmed in jpeg with minimal size and quality, but not all.
Fuji and trial also took place, searching for "the same picture"))
here, by the way, is an example of a landscape at 17-50 and SD1M, without HC, just "passed by" ...
About closeness, I had in mind that my mount. And also, the fact that only Online Trade in Moscow is engaged in Foveon and that is all on order. There is nothing in stock, not even batteries. And of course, the fact that only native Sigma Photo pro works correctly with x3f, which does not suit everyone.
And if it’s no secret, when you sell Sigma, what are you planning to shoot? Will there be a camera for the soul?
2 Pokemon: for some reason, the reply button does not show on the latest messages, I will reply in this way. if “closeness” is “measured” by its bayonet, then old cameras under M43 can only be called an open system. online trade does not offer even half of the range. sigmafotokom - everything is relevant there, only duties will bite on everything that is more expensive than 42 euros. + "All-Russian flea market" eВау. batteries - minolta np-500 = original 400: 1. SigmaFotoPro is good for everything, only A) framing / alignment, B) nimbleness, C) a slightly more sane interface is missing.
I have not decided yet what, but for the soul, there is always a Nokia 105 with a flashlight)))
pictures are on Instagram @dvc_photo
And what, in fact, is SUCH in this picture? I don’t understand these emotions. Well sky, clouds, elongated shadows / highlights trees. What is the notorious QUALITY of everything advertised with manic persistence of old photographic equipment?
2 Novel: Have you read it carefully? there is no emotion there, just an example of a photo without any claims to be extraordinary. Of course, in terms of exposure and color it is "tightened up". If specifically about this landscape, then you need to look at full size, there is very good detail. Nobody advertises anything. Take it easy. If you don't like it, don't read it, nobody forces you.
And this picture, shot on SD1M + 17-50EXHSM, I highly do not recommend for you to watch, just a picture, nothing more: neither "Rein2", nor "Phantom".
The landscape is about nothing. A lens hood or thick filter creates black corners. Color is distorted. Shadows / Highlights turns the entire image into quasi HDR, not fashionable for five years now.
Fans of old Foveons, Fuji S5Pro and Canon 1D Mark II are trying to draw everyone to their dark side of the Force, advertising the unique parameters of these cameras - color rendition, skinton. For what? To film IT? Are they generally involved in photography, or is everyone discussing the parameters of photographic equipment?
Roma, are you always such an eccentric with the letter “Ma” ???
If something goes wrong in life, do not spread your negativity around. Take pictures with what you have and be happy. Show your “picture”, not necessarily “masterpiece”, filmed with a “super-modern” camera, or will you merge it quietly?
By the way, for you personally there is a special offer on natribu_dot_org (he sees a gopher, I didn't want this, but for the sake of such an occasion ...)
Lord, go and see: https://500px.com/rkurbatov
What does a modern camera have to do with it or not? Masterpiece or not masterpiece. I constantly see assurances that this technology is this. Here Sigma is yes. Or CCD is yes. So what is it? Where is the yes? Can't you shoot it on your phone or what? The only difference will be in detail? And why do I need detailing in this case, if there is no need to consider the details of the yard. Photography is an idea first. Even if it is a play of light or some colored spots. Well, to hell with him, you defend some kind of technical advantage, but where is the technical advantage if you killed the picture with post-processing?
Is this a screen from GTA-6?
Nothing left of the photo, pure comp. graphic arts.
2 Anonymous: smiled) Will you show an example of a “correct” photo? ) It was overcast, clouds, in the picture almost like eyes, only better)
Nifiga you are discounting the price from 120 :)
Hoban, Nikon D70s with a whale lens.
Only this is not HDR, I do not know how.
Cool!
It will be very interesting to read about Sigma
Peter S., there is nothing difficult about it, the point is to make the picture as close as possible to what we would see with our eyes. The human eye is capable of distinguishing images in the range from very bright to very dark, much more than any modern "digital". Therefore, in order to get an image that covers everything from the brightest to the darkest, there appeared such a thing as High Dynamic Range aka HDR aka "High Dynamic Range", in fact - just a kind of exposure bracketing, i.e. when shooting the same scene with different exposure settings from “dark” to “light” or vice versa, with a certain exposure step / interval. If I’m not mistaken, many modern cameras already “know how” to merge differently exposed frames into one, and almost all of them have an exposure bracketing mode (when the camera automatically makes several differently exposed images with a given range and step, for example, from -1 to +1 with a step of 1/3) and then the only thing left in the editor is to “collect” them into one frame. That is, in fact, all the "wisdom". From the programs I can recommend Affinity Photo.
.I got a sigma 17-50mm f / 2.8 canon in conjunction with a Canon eos 70d and proved to be good in terms of sharpness and autofocus hits the target right .... While satisfied ...
Roma, I beg your pardon, below, if I knew that you are a supporter of “ideological” photography on mobile devices, I would not dare to offend you at all.
In short, "Canon" get out of underexposure and learn to see the light) Noir is a good thing, but in moderation.
And so, cool, yes: almost everything can be removed on a mobile phone ... ten years ago, respect and respect, comrade! )))
And, yes, Roma, I'm just “Denis”, not “Lord” at all, no unnecessary empty pathos is needed ...
I saw that some former Sigmavods from Foveon left on d810 / d850 or Sony a7r m2 / m3. I’m curious where to stop.
well, as a "soap dish" I have a DSC P-200 why do I need expensive 810/850 and other SONY?
how to "stop" - I'll tell you)
Arkady, perhaps it's time to suspend this "discussion"? I promise in the near future (10 working days) to send a review-impression of the SD1M and three lenses, there I am ready to discuss even until blue in the face with the “experts” of “ideological photography” etc.
Accepted?
Send your HDR yards already, neigh.
Comrades, no need to get personal. Further commenting in this way will be moderated :)
It will be interesting to read the review, as the one itself also has an SD-1 Merrill with 35 / 1.4 ART lenses, and 24-70 / 2.8 EX DG. I think it is better to close the comments on the article in advance, because there will be Stalingrad.
If you close it, it will be even worse
Very interesting, especially with RAV in the attachment. I am for
Michael, what are you going to do with these Ravs?
If Sigma Photo pro is not, then most likely you will not do anything. Correctly with raves from foveonov only the native free program works.
Ok, yes, with X3F - no question, just how will you watch them without SPP? A JPEG preview will show, for example, FastStone Image Viewer, but if you want to open "full size", you will see only one blue layer out of three.
Today I will slowly start, in parts, because the camera is interesting and there are a sufficient number of observations / thoughts.
They even offered a separate site for selling the kit)
Yes, especially for Roman: there will be courtyards in the "overclocked" range and noir, everything to make you smile, just don't laugh too much, otherwise you will fall off the stool and break your tail)))
In general, patience, follow the broadcast, coming soon ...
Where to see download-find. I have never dealt with Foveon, so interest puts laziness in the background)
Denis, sincere advice on the CD1 test - you better refuse, because there will be many critics with buckets of slop. And if you decide, then thoughtfully pick up pictures, preferably from sunny days, as you and I know how Foveon loves light. If that I can make a company for a day from 35 / 1.4 and 24-70 / 2.8 for a walk around Moskvk.
2 Pokemon: thanks for the advice and caution, but it's simple for me: for non-constructive "criticism" and "shitty" (sorry for the poor speech) there is a "magic link" to one resource of the official representation of the symbolic direction - everyone will be sent there and this is not at all "into the garden", I will not stand on ceremony, and I will not go into my pocket for a word either.
About light - in the know, and a rare camera does not like it)
With a walk - thanks too, but trams don't run from Krasnoyarsk to Moscow yet))
for now, a little ... gopher. just conversion from x3f as is, without correction, the quality is reduced to 85% to reduce the "weight" of the file, the pixels are left as is. glass is not 17-50, but 50-100.
Inadequate color rendering. A lot of purple? Red? ...
From this the grass is not green but brown.
Ah, only the carcass ... did not look at the description.)
Hello! Tell me whether it is worth changing to this lens Sigma 28-105 f2.8-4?
No.
17-50 / 2.8 with stub is a very good solution for crop cameras.
28-105 / 2.8-4 is weaker than optical and there is no stub.
Of the crop lenses, Sigma has 17-70 / 2.8-4 more.
It is worse optically than 17-50 / 2.8 and there seems to be no stub.
It’s better not to look at 28-105.
I just have 28-105 and I decided to change it ...
An interesting moment is whether there will be a difference in the quality of the image if both shoot on a smaller range at f2.8
Pavel apparently wondered if he should change his 28-105 to this sigma.
Yes Yes. I have 28-105, I thought about selling it, adding and taking 17-50.
So worth it?
I am mainly interested in the focal length which is less, because I photograph nature or people indoors (fifty dollars is often not enough).
Will the difference between these lenses on tricks 17 and 28 be strong, if both are used on f2.8?
Hello!
I shoot 80mm f50 glass on a canon 1.8D, there is not enough distance on the fixture in small rooms. For "reporting" I have to rent a zoom, and although I like fixes more, it is not always possible to change the lens, and the dust is unnecessary. what ... I thought of purchasing a Sigma Zoom 17-50mm 1: 2.8 EX DC OS HSM for my small arsenal. How do you think this lens will help you with reportage photography?
Thank you in advance for your reply.
It is.
Roman, thanks
Is autofocus much faster than the whale 18-55?
There are many 18-55 whales and many different systems. If you look, for example, at Canon Zoom Lens EF-S 18-55mm 1: 4-5.6 IS STMthen Sigma will be slower. But compared to most whales - a little faster.
Nikkor 18-55 af-s vr.
If we discard the price factor. Which lens is still better? This or Nikon DX AF-S Nikkor 17-55mm 1: 2.8G ED IF SWM?
Generally native
Sigma is better, without any reservations.
Good day! Maybe there is where the answer is in the comments, I didn’t find it. There’s no break, maybe the owners will tell you. The lens in conjunction with the Canon 60d served faithfully for 2 years (commercial shooting), there were no complaints. I used it. But after a small drop to the ground from a height of literally 20 cm, the zoom ring jammed. Not right away! And the next day! After the fall, everything worked. Now it’s possible to spin up to a maximum of 21 mm, no way. Before this case, there have already been such wedges a couple of times, but if you twist a little harder, everything went. I can take away to the virus center soon, far away. Who had this? Can I say goodbye to him or is there hope for healing?
buy the same or better with it
If we get lucky
Recently I bought this lens to replace the whale, I noticed that the zoom wheel walks very tight in comparison with the whale. Is this normal for this model ?? I connected it with the fact that the rubberized wheel
Yes, a little tight. Moreover, in the direction of increasing the focal length is tighter than in the direction of decreasing.
It will be developed, it will be normal
Advise a beginner. I have a Sony a58. Whale lens. I want to buy another one with a higher aperture. Which is better sony sal50 f1.8 or sigma 17-50 f2.8
I will answer a question with a question. Do you need zoom or fix?
I'm new, so I don’t know (
What's better. ? I want to shoot portraits. Well, I love landscapes, it is possible to whale. Or I do not think so)
I don't have enough light in my whale
Whale leave for landscapes. For creativity, take 35 / 1.8G DX or 50 / 1.8G. And then only practice.
There is a dormouse like)
For portraits sal50 is better. In principle, everything is simple - it always has 50 mm (no zoom). If you don't need a zoom (or you can get by with a whale zoom), then it's better to take a fix.
Thank you for your advice and quick response))
Saaaaamy useful review of those that I read)
Still have to find such a lens at an affordable price and in good condition used
Good afternoon. Please help me :) I'm not a professional at all! Absolutely :( I plan to study and become a newborn photographer. That is, shooting children in apartments at a distance, as well as macro photography (sponges, nose, eyes) and a photo with parents on a solid background. I plan to buy a carcass (for now) markll d5 ... Will this lens suit me? Or can you advise something inexpensive, or do you need several lenses?
Better a few. One versatile and a couple creative. For the 5D mark II, 24-70 / 2,8 of the first version (it is not very expensive B.U.) and 50 / 1.8 STM or 50 / 1.4 USM as a creative one will be completely fine. Macro is not really needed here.
Macro is when the eyes, the spider's nose are examined.
This lens is not worth considering - it is for cropped cameras, and you are planning to buy a 5 d mark2, and this is FF.
Hello! Faced such a problem! On the nikon d40, the Sigma Zoom 17-50mm 1: 2.8 EX DC OS HSM lens accurately focuses on only 50 mm., On the rest of the d.f. soap. But if you focus on 50mm, and then, with the button pressed halfway, change the d.f. on any other, the frame will be sharp. With lenses 18-55,16-85,55-300, the d40 does not have such a problem. With d50 and d80 cameras, the lens works without problems. Can someone tell me what the catch is.
Since it works for others - individual intolerance)
Well, yes, apparently they did not agree on the characters.
Good day! For about a year and a half I have been using this glass in conjunction with the D7200. In principle, the impressions are mostly positive. From the experience of use, only a few points upset (maybe this is just my copy or the peculiarity of the spark with the D7200):
1. This is actually 2,8 with little or no working hole, mostly soap, acceptable sharpness starts at 3,2, and ringing at 4,5.
2. Frequent misses of focus. I tried to identify some regularity (I played with tables for back- and front-focus), but I could not identify it.
3. Uneven (or what is it called right?) Curvature of the field of sharpness. Those. if you focus on the center point, then crop a little differently, you get sharpness in the center of the frame, and not in the initial focus (with a hole pressed to 4,5 and a fixed focus). When focusing on the set focus points, without re-cropping everything is OK. Because I often shoot reports, there is no time to choose focus points. We have to tighten the diaphragm harder and hope for a miracle))).
In all other respects, the lens is good! After the transition from 18-55, or (as I had) from 18-200 (Sigma) was delighted.
Today, in addition to the inconveniences mentioned above, I noticed that I do not have enough longer focal lengths. In this regard, I'm looking at the Tamron AF SP 24-70mm f / 2,8 Di VC USD G2 (the last one). Nikkor 24-70 will not pull the new one, but the old one without a stub ... Yes, and I plan to move to FF over time. What do you think friends, especially the owners of such a Tamron? is it worth taking? Will he solve at least some of the problems mentioned above?
P.S. Arkady, it would be nice, if there is such an opportunity, to review this Tamron, as I understand it, it is very popular now, and judging by the reviews it’s not bad.
But does it make sense? 20mm won't do much, but you will lose the wide angle. On FF it will not be enough again - you will return to the same corners as now on the crop from 17-55. Maybe take 70-200? The same problem, but there are 70-300. But considering how rarely I get it, I understand that the 70-200 will collect dust.
According to claim 3: “curvature of the field of focus” is not a problem of technology, but of geometry, if the depth of field is thin when reframed, the plane of the depth of field rotates like the axis of the lens and the object leaves it.
In this case, the problem is not just the “curvature”, but the “straightness” of the field, as in macro lenses. Traditionally, the field is "bent" towards the edges of the image, with a bulge from the user, therefore, the rotation of the lens performed during re-framing on a lens with an undercorrected field curvature does not lead to a loss of sharpness. But with a macro lens (well, or any other lens with a well-corrected field curvature), re-framing at low depth of field leads to such consequences.
Well, purely aesthetically, we are accustomed to greater sharpness of the central zone and vignette, especially when it comes to portraiture.
According to p. 3: “the curvature of the field of sharpness” is not a problem of technology, but of geometry, if the depth of field is thin during transcoding, the depth of field rotates like the axis of the lens and the object leaves it.
This is understandable, but when you shoot at 50 mm from Ф4,5 from a distance of 3-4 meters, you focus on the person's face, frame at the minimum angle (5-10 degrees) and you get soap on your face, but the sharpness on the belt / stomach is a shame. Moreover, according to the logic, it should work as in the figure in the attachment. But this does not work (((
It still seems to me that the “field of sharpness” (or whatever you call it) is the same as in the picture (I painted it in red). Only I have not yet fully understood where the horns are curved, inward or outward ...
From a distance of 3-4 meters, the depth of field, if also open, is not very big.
+20 mm focal at this stage will suit me for now, for the future there is an idea to complete the kit (+ TAMRON SP AF 70-200mm F / 2,8 Di VC USD G2; Tamron SP AF 15-30mm F / 2.8 Di VC USD G2). Such is the “golden three” from Tamron. But this is certainly in the distant future, since prices even for Tamron wow ... I am generally silent about the “golden trinity” from Nikkor ...
15-30 on crop - nothing. It has all the drawbacks of FF width, such as large sizes, weight and other joys of image quality, except for the main advantage - a wide angle. I am absolutely convinced that everything wider than 50 mm should be purchased for the matrix format.
“15-30 on a crop - about nothing. It has all the disadvantages of FF width such as large dimensions, weight and other pleasures of image quality, except for the main advantage - a wide angle. I am strongly convinced that anything wider than 50 mm should be purchased for the matrix format. ”
I understand this, therefore, in fact, I plan to take this shirik after switching to FF.
I use sabzh sigma on the D3200 and D7000 and also a tamron 24-70 g2 on the D750. Once a tamron used on the D7000. Sigma at 2.8 is sharp enough at the wide and especially long ends. Soft on the open the closer to the middle of the focal. The tamron on the open for 24-50 has excellent sharpness, and closer to 70 softer. But of course the tamron is much sharper than sigma. But in general, given that a wide angle is lost on a crop with a tamron, replacing sigma in my opinion is pointless. Unless in the backlight, feel significant improvements.
My sigma on the open is quite sharp even on the indicated crop. I don’t understand how it can be soapy on the D7200. Probably either an unsuccessful instance of sigma or problems with focusing.
Hello! I use this Sigma 17-50 lens in a set with Nikon D5100. Please advise, will I get a tangible difference when switching to Nikon D7000? If yes, which one? Thanks in advance!
Hello Olga! Personally, I also started with this glass on D5100, then changed the carcass to D7200. I don't know how on the D7000, but the picture has changed on the D7200. Although both crops would have been tantalizing, the photos became much better, volume and depth appeared ...
This feature of this lens was noticed when working with the Nikon D5100: when focusing on a central point in low light conditions, the AF-assisted backlight on the camera does not hit the object that the center point is pointing at, due to the SHADOW from the lens hood or from the edge of the lens itself (if the lens hood is removed )! Hence the autofocus blunders, because what is needed is not really highlighted. In this case, you can choose the first point to focus to the right of the center point (it is highlighted normally), focus on it, then crop. It seems so.
Well, this is a feature of all "large" lenses. I turned off the lighting on the carcass immediately. If necessary, I use laser illumination from an external flash or synchronizer (depending on what is on the hot shoe).
Should I take this lens instead of a whale on a trip with a Nikon D5600 camera? I will shoot architecture and possibly museums (inside without a flash). There is a whale 18-55mm AF-P VR II and a fix 35mm 1.8
Yes, but just make sure to focus accurately. Behind Sigma there are problems with back / front focus.
The store said that adjustment is included in the guarantee
She comes in, but you want to do it? Or is it better to buy and use immediately?
Sigma 17-50 f / 2.8 with stub will replace both of your lenses. Especially in the museum. You can use 1/4 to 17mm and 1/15 to 50mm shutter stubs. f / 2.8 at 17mm and 50mm is pretty good, in the middle of the focal I recommend covering up to f / 4. The only thing where the fix 35 can give a head start is shooting at f / 1.8-f / 2.2 growth portraits, when the model (and, accordingly, the focus point) will be significantly removed. There will be a feeling of a larger volume in the picture. If close portraits and even growth, then sigma also successfully replaces the fix.
Thank you very much, I will take))
Sorry, but I want to repeat my question! I use this lens Sigma 17-50 complete with Nikon D5100. Advise if I get a tangible difference when switching to Nikon D7000? If yes, which? Thank you in advance!
From the lens in changing the picture - most likely not, the matrices are the same. From the camera - yes, it is more convenient if you do not take pictures on Auto. On the 7000, many of the settings that can be changed through the menu on the 5100 are placed on the buttons and wheels. And there's lens focus adjustment, which can be helpful with Sigma.
Tell me, is the compatibility of a pair of Sigma 17-50mm + a D7000 camera will be no worse than that of a Sigma 17-50 + D5100?
Deterioration: significantly heavier and lose the rotary screen.
Improvements: DD is noticeably higher (albeit the same matrix), better AF module (but still far from good), 100% bright viewfinder covering the frame, professional controls, the presence of a "screwdriver" (AF will appear on screwdriver lenses, but for this sigma without difference).
My opinion: if you want a really noticeable difference in the picture and so on, then you need to switch to the D7200. But these deteriorations will remain, but everything else will be super.
DD for d5100 and d7000 is the same.
If there is a desire, switch the equal of d5100 to the same format as d7000.
Af at d5100 is better although the module is more ancient. But the central point at d5100 is more stable.
What's bad about the d5100 is the penta mirror, really small and dark, the d7000 has a good pentaprism. The d5100 does not have an accurate AF setting. But d5100 is noticeably lighter and smaller.
In any case, the picture, color and dd are identical for them.
According to DD. If you look at the DXoMark measurements, the difference is one third of a stop: the D7000 has 13.9, the D5100 - 13.6
This third in practice is not felt at all
Arkady, in practice it is not felt because there is no difference, it’s just a measurement error.
Any measurements always have a measurement error.
Dmitry, matrices are identical and give identical dd. Do you know what measurement error is? In DRL, it is 0.5.
Those. the spread within 0.5 does not need to be taken into account at all, it is within the measurement error.
Tell me, how compatible is this Sigma lens with 17-50 with Nikon D7200? Are there any nuances?
At 7100, the image does not move smoothly with the cursor when viewing until the stabilizer turns off. At 7200 it seems to be fixed.
But when I turn off the stabilizer, nothing changes, the picture cannot be moved or zoomed in smoothly, holding the corresponding button. Other lenses are fine. Can you tell me what else could be the solution to the problem?
This is a known issue with the D7100. obviously, it doesn’t matter in what position the stabilizer switch is (on or off), the lens is held by magnets during operation, but depending on the mode it stabilizes the image or not. and, of course, turning off the stabilizer just in time coincides with the lens switching to another mode of operation (for example, sleep mode)
In addition to the nuances of focus I have voiced above, everything is fine. Although I do not consider these problems to be critical, knowing about them I simply take these features into account when shooting. There are no glitches when viewing or working with the flash / synchronizer (I have a D7200 + I have a Yongnuo YN968N flash + a Yongnuo YN622N-TX synchronizer)
Thanks for answers.