Sigma DC 17-70mm 1: 2.8-4 MACRO HSM Optical Stabilizer Review

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Sigma DC 17-70mm 1: 2.8-4 MACRO HSM Optical Stabilizer

Sigma DC 17-70mm 1: 2.8-4 MACRO HSM Optical Stabilizer

Browse Navigation

  1. In short
  2. History
  3. Main Specifications
  4. Assembly
  5. Stabilizer
  6. Focusing
  7. Image quality
  8. Sample photos with source
  9. My experience
  10. Alternatives (all bright zooms for APS-C)
  11. Prices
  12. Results
  13. User Comments
  14. Add your review / comment or question on the lens

In the review, the Sigma DC 17-70mm 1: 2.8-4 MACRO HSM Optical Stabilizer will be abbreviated as Sigma 17-70 / 2.8-4 OS. The overview shows the version for cameras Nikon DX Series with Nikon F mount. This lens was also available for Sigma SA, Canon EF / EFS, Sony / Minolta A, Pentax K. mounts.

Sigma DC 17-70mm 1: 2.8-4 MACRO HSM Optical Stabilizer

Sigma DC 17-70mm 1: 2.8-4 MACRO HSM Optical Stabilizer

In short

Sigma 17-70 / 2.8-4 OS is a universal lens with a convenient set of focal lengths for cropped SLR cameras of different systems. First of all, it attracts a low price in the secondary market, an integrated image stabilizer and high apertureespecially in the wide range.

Sigma 17-70 / 2.8-4 OS can serve as an excellent replacement for whale lenses of the class 18-55 / 3.5-5.6, and also acts as a good alternative for the following lenses (depending on the mount):

All these lenses are a class higher than standard lenses of versions 18-55 / 3.5-5.6 (and all similar budget lenses, of the type 18-50 / 4-6.3), but lower than the class of professional lenses of versions 17-55 / 2.8 (and close to them) , type 16-50 / 2.8).

Sigma DC 17-70mm 1: 2.8-4 MACRO HSM Optical Stabilizer

Sigma DC 17-70mm 1: 2.8-4 MACRO HSM Optical Stabilizer


Sigma 17-70 / 2.8-4 (4.5) has four main models:

  1. Sigma DC 17-70mm 1: 2.8-4.5Scheme 15/12, since February 2006
  2. Sigma DC 17-70mm 1: 2.8-4.5 MACRO HSMDiagram 15/12, from July 2007, for Nikon cameras only
  3. Sigma DC 17-70mm 1: 2.8-4 MACRO HSM OSScheme 17/13, from December 2009
  4. Sigma DC 17-70mm 1: 2.8-4 C, [Macro, HSM, OS, Contemporary]Scheme 16/14, from September 2012

Separately, there is a line of DC EX / ART fixed aperture lenses (see the list in the 'Alternatives').

Sigma 17-70 lens prefab

Summary table for the Sigma 17-70 lens

Main technical characteristics of Sigma DC 17-70mm 1: 2.8-4 MACRO HSM Optical Stabilizer:

Review Instance Name The lens barrel bears the following inscriptions 'Sigma DC 17-70mm 1: 2.8-4 MACRO HSM Optical Stabilizer Ø 72 LENS MADE IN JAPAN' + serial number
Basic properties
  • DC (Digital Camera) - the lens is designed for SLR cameras with an APS-C sensor, in this case it is an analogue 'Nikon DX'
  • OS (Optical Stabilizer) - built-in optical image stabilizer
  • HSM (Hyper Sabout nothing Motor) - ultrasonic focusing motor, in this case it is analogous to 'Nikon SWM'.
  • AF / M - simple focus mode switch
  • LOCK - button for fixing the zoom ring at 17 mm.
  • IF (Iinternal Focusing) - internal focus
  • Super Multi-Layer Coating - super multicoated optics
  • ASP (Aspenherical) - aspherical elements in the optical scheme
  • ELD (Extraordinary Low Dispersion) - special low dispersion elements in the optical scheme
  • MACRO 0.22m / 0.73ft - scale for macro photography, it is possible to shoot at very small focusing distances with a maximum magnification of 0.36X
  • Lack of aperture control ring, analog 'Nikon G'
  • Bayonet hood included
  • Important: a lens from a third-party manufacturer, which imposes some restrictions on its practical use
Front Filter Diameter 72 mm
Focal length 17-70 mm EGF for Nikon DX cameras is 25.5-105 mm
Zoom ratio 4.12 X (usually rounded to 4)
Designed by for Nikon DX digital cameras, there are modifications for other systems

  • Sigma sa
  • Canon EF / EFS
  • Sony A / Minolta A
  • Pentax K
Number of aperture blades 7 rounded petals
Tags focusing distance in meters and feet, focal lengths for 17, 24, 28, 35, 50, 70 mm, mark of bayonet mount and hood mount / fix. Labels IN / OUT to set the hood.

There are zoom marks depending on the focal length:

  • 28 mm 1: 4.8
  • 35 mm 1: 4.1
  • 50 mm 1: 3.2
  • 70 mm 1: 2.7
Diaphragm control is via the camera menu (analog Nikon G - lens type)

  • 17 mm - F / 2.8-F / 22
  • 24 mm - F / 3.2-F / 25
  • 28 mm - F / 3.3-F / 25
  • 35 mm - F / 3.5-F / 29
  • 50 mm - F / 4-F / 32
  • 70 mm - F / 4-F / 32
MDF 0.22 m, maximum magnification ratio 1: 2.7
The weight 490 grams declared

According to my measurements:

  • 538 grams of the lens itself
  • 600 gram lens with a hood and two caps
Optical design 17 elements in 13 groups:

  • 3 aspherical ASP elements (in the optical diagram, aspherical elements are shown in pink)
  • 1 low dispersion ELD element (shown in green on the optical diagram)

Optical design Sigma 17-70 OSImage of optical circuit clickable

Lens hood LH780-03, Bayonet type, plastic, with the possibility of installation in transport mode
Manufacturer country LENS MADE IN JAPAN (Lens made in Japan)
Production period From December 4, 2009, in September 2012 replaced by Sigma DC 17-70mm 1: 2.8-4 C OS MACRO

Sigma 17-70 / 2.8-4 OS attracts with its unusual aperture value. Usually 'dark' universal lenses have a relative aperture value of 1: 3.5-5.6. The difference with such lenses between F / 3.5 and F / 2.8 (wide-angle) is 1.56 times (2/3 stops). The difference between F / 4 and F / 5.6 (in the TV range) is 2 times (exactly 1 step). It’s a pity, but F / 2.8 is available only at a value of 17 mm of the focal length, it is only a little turn the zoom ring, as the F value becomes equal to F / 3.0.

Sigma 17-70 / 2.8-4 OS has a wider viewing angle compared to classic universal lenses, which at the wide end can use only 18 mm of focal length. True, the difference between 18 mm and 17 mm is practically not felt. And also the difference between 16 mm and 17 mm is also weakly perceptible.

Sigma DC 17-70mm 1: 2.8-4 MACRO HSM Optical Stabilizer

Sigma DC 17-70mm 1: 2.8-4 MACRO HSM Optical Stabilizer


Sigma 17-70 / 2.8-4 OS was made in Japan. To the touch the lens is pleasant and weighty. The retractable frame of the body ('trunk') consists of 2 sections, which are quite durable, without any backlash. One of the sections is plastic, the other is metal.

The lens has a considerable weight, which is 600 grams (together with covers and hood). On small cameras such as Nikon D3200, the weight balance is shifted towards the lens and during operation you have to almost constantly hold the lens. The lens uses large filters with a diameter of 72 mm, but personally, I would prefer if instead of 72 mm a 'professional' size of 77 mm was used immediately.

Part of the case has a characteristic Sigma velvet coating, which tend to quickly overwrite or get dirty or climb around. But these parts are small, and therefore do not particularly worry about this.

There is a bayonet mount mark on the body and a mark for quick installation of the hood. The lens uses a plastic hood that is fixed in special grooves located near the front lens of the lens. On the hood there are arrows labeled 'IN' and 'OUT', in the direction of which the hood should be installed and removed. The hood can be installed in upside down for transportation. In this position, access to the focus ring at 17 mm focal length is lost. When you change the focal length, the lens hood moves with the front of the lens.

When changing the focal length, the rear lens moves in the middle of the lens body like a pump - draws in and pushes out air, which can increase the amount of dust that accumulates in the camera. On the lens removed from the camera, from the rear lens side, at 70 mm of the focal length, gears and other lens interiors are visible.

For Sigma 17-70 / 2.8-4 OS, the direction of rotation of the zoom and focus rings do not match with the direction of the original Nikon 16-80 / 2.8-4E VR or Nikon 16-85 / 3.5-5.6G VR.

Frame (trunk) of the Sigma 17-70 / 2.8-4 OS spontaneously changes its size under its own weight (perhaps this begins only with time). For example, when the camera is tilted down, the trunk of the lens spontaneously lengthens (focal length increases). To prevent such an unpleasant incident, there is a 'LOCK' switch (so-called 'latch') on the lens bodycastle'), which tightly fixes focal length at a value of 17 mm. To fix the trunk of the lens, you must first set the 17 mm focal length. Near the button there is a drawn arrow that indicates in which direction the switch should be moved to lock the lens. The switch is located in a convenient place - under the thumb of the left hand, so the lens can be quickly and comfortably 'removed from the lock' before starting shooting. The effect of spontaneous change in focal length (trunk creep) in this lens strongly expressed.

The lens has metal bayonet mount. Most of the internal power elements of the lens are also made of metal. The zoom and focus rings are rubberized. Changing the focal length runs smoothly. The zoom ring rotates 90 degrees. The assembly of the Sigma 17-70 / 2.8-4 OS is no worse than the more advanced similar lens of the professional series - Sigma Zoom 17-50mm 1: 2.8 EX DC OS HSM.

Number of petals aperture - 7 pieces. At the same time, they are weakly rounded and form an irregular heptagon on strongly covered diaphragms.

NoteThat there are two subversions of Sigma 17-70 / 2.8-4 OS:

  1. With 'Optical Stabilizer' lettering in white letters, closer to the mount. Additionally, 'OS' is written right from the indications of the maximum relative aperture '1: 2.8-4'. Extremely rare option
  2. Inscription 'Optical Stabilizer' in gold lettering to the left of the 'LOCK'. Almost all lenses are like that, including the one shown in this review
Sigma DC 17-70mm 1: 2.8-4 MACRO HSM Optical Stabilizer

Sigma DC 17-70mm 1: 2.8-4 MACRO HSM Optical Stabilizer

Stabilizer (updated job description)

Sigma 17-70 / 2.8-4 OS has an integrated Sigma Optical Stabilizer image stabilizer. It is stated that the stabilizer allows you to compensate 4 steps by shutter speed. In values excerpts this means that you can shoot at shutter speeds 16 times longer than what a lens without a stabilizer requires. But in practice, the stabilizer works out in the region of 3 steps. I was able to make sharp frames of motionless objects with shutter speed 1/3 of a second at 17 mm of focal length and 1/10 of a second at 70 mm of focal length. If you try, you can achieve longer shutter speeds.

On the case there is a stabilizer operating mode switch 'OS ON / OFF'. Where 'OS' is short for 'Optical Stabilizer'.

The stabilizer has its own characteristics. If you listen to the inside of the lens, you can hear a very slight noise / hum in the middle of the lens, even if the stabilizer is in the 'OFF' position. When you press the focus button / metering activation button exposure, or turning on Live View, the noise just increases a little - apparently the stabilizer starts working at full power. When turning off the camera, even if the gimbal was in the 'OFF' position, JVI noticeably how the image twitches, and also the noise from the lens parking is heard - this is a sign that the stabilizer has turned off 'again'. It turns out that the stabilizer works partially even in the 'OFF' position.

Also on my cameras Nikon D3200 и Nikon D40on which I tested this lens, Sigma 17-70 / 2.8-4 OS does not automatically turn off the metering after the time interval specified in the settings. Himself the stabilizer always turns off after 1 minute of inactivity (this time cannot be adjusted, even if the exposure meter’s operating time is set longer), after which the exposure metering time specified in the camera’s settings passes and also turns off. Thus, the stabilizer with the camera turned on continues to work much longer than with similar original lenses, and all this time the built-in exposure meter makes it work. This may adversely affect the battery level.. But not everything is so scary, at full charge Nikon D40 with Sigma 17-70 / 2.8-4 OS with the stabilizer turned on and auto focus, it gives out about 2000 frames without a flash, with other lenses you can take a little more than 3000 frames.

During the included Live View, including when shooting video, the stabilizer works constantly. The stabilizer in video mode makes the picture much smoother and its work can not be overestimated.

I observed similar unusual behavior of the stabilizer on many other Sigma lenses, for example, Sigma Zoom 17-50mm 1: 2.8 EX DC OS HSM.

In the version for Sony and Pentax cameras, the lens also has a built-in stabilizer, which is rare for these systems. The lens stabilizer is paired with a stabilizer located on the sensor.

Original similar lenses Nikon 16-80 / 2.8-4E VR и Nikon 16-85 / 3.5-5.6G VR They have an additional 'Norma / Active' gimbal switch on their body, which allows you to choose a more effective gimbal operation method, for example, when shooting from a tripod or from a moving platform.

Important: if you remove the lens from the camera, or turn off the camera and slightly shake the lens, you will clearly hear something in the middle hanging out. This is a block of stabilizing lenses. This is the normal state of things.

Important: the stabilizer in this lens is the weakest point prone to breakage. If the stabilizer breaks down, the lens may become unusable, since for correct image formation the group of stabilizing lenses must always be in the active 'suspended' position (even if the stabilizer mode switch is in the 'OFF' position).

Sigma DC 17-70mm 1: 2.8-4 MACRO HSM Optical Stabilizer

Sigma DC 17-70mm 1: 2.8-4 MACRO HSM Optical Stabilizer


The lens uses focus ultrasonic focusing motor 'HSM' (Hyper Sonic Motor), but in this case it is ordinary, compact, not ring type. In general, this is an analogue of compact Nikon SWM motors. In terms of the Nikon system, the Sigma 17-70 / 2.8-4 OS lens is similar to an 'AF-S' type lens.

The lens will automatically focus on all Nikon DSLR cameraseven on amateur series models Nikon DXthat do not have a built-in focus motor: D40, D40x, D60, D3000, D3100, D3200, D3300, D3400, D3500, D5000, D5100, D5200, D5300, D5500, D5600as well as mirrorless cameras Nikon Z with adapter FTZ / FTZ II.

During automatic focusing, the motor performs its work quite quietly, but nevertheless, noise from the focusing motor is clearly audible on videos recorded using the microphone built into the camera.

Auto Focus Speed average. Focusing speed is enough for comfortable work in most photo tasks. Focusing speed is significantly lower than, for example, the original similar Nikon 16-85 / 3.5-5.6G VR.

When used on a camera Nikon D3200 with unpretentious Multi-CAM 1000 focusing system the lens behaves well. With precision and clinging focus, I had no particular problems. The same goes for use on Nikon D40. On camera Nikon D3200 I checked the presence of the back and focus front at different focusing distances (infinity and MDF as well). Pictures taken using the Live View mode (which does not suffer from back / front focus) were used as a measure. Focusing accuracy using phase sensors completely coincided with the Live View mode. In Live View, the lens also works well. In general, almost all Sigma lenses of that period have no special focusing problems.

The focus ring is rubberized and rotates approximately 60 degrees in manual focus mode. When extreme positions are reached, the ring abuts. The focus ring rotates easily. Manual focus is not very convenient. Direction of rotation of the focus ring does not match with original Nikon 16-85 / 3.5-5.6G VR. In automatic focus mode, the focus ring rotates and cannot be touched at this time. The range of distances is greatly 'knocked down' ranging from a meter to infinity, from which manual focusing is inconvenient and difficult. Focus manually through JVI at distances beyond 1 meter it is quite difficult.

Lens has internal focus, the front lens remains stationary during focusing. It is possible to use various filters without any problems.

The lens has a scale of focusing distances in meters and feet plotted on the focus ring. The number of values ​​on the scale is small, the scale itself is not very useful. There are values ​​only for 0.22, 0.3, 0.4, 0.6, 1, 2 meters and an infinity mark. Infrared scales and labels for working in the infrared spectrum are not.

The minimum focusing distance is only 22 cm (the distance from the camera’s matrix to the subject). With such an MDF, the maximum magnification ratio is 1: 2.7. it excellent indicator for a similar lens. Thus, the lens allows you to shoot a good amateur 'close'. On the retractable frame of the case there are labels indicating the maximum magnification factor for certain focal lengths (see plate with TX).

Important: during shooting with a maximum magnification of 1: 2.7, the distance from the subject to the front lens is about 2 cm (this is a very small distance, although 4.5 cm is stated on the official website). During shooting, you can hook the subject of the shot with the trunk of the lens. Very often during macro photography, the shadow of the trunk of the lens gets into the frame.

Important: when using a lens hood, you will not be able to achieve a maximum magnification of 1: 2.7, since the lens hood will abut against the subject.

The lens has focus mode switch 'AF / M'. For manual focus, the lens must be necessarily switched to 'M' modeotherwise, the focus motor may be damaged. Unfortunately, unlike many Nikon lenses of this type, the Sigma 17-70 / 2.8-4 OS does not support continuous manual focus control.

Focus Features:

  1. When changing the focal length, focusing is lost.
  2. Sigma 17-70 / 2.8-4 OS has a rather pronounced 'Focus Breathing' effect (changing the viewing angle during focusing). During focusing towards MDF, the viewing angle increases
  3. Focus Shift (focus shift, changing focus distance due to iris)
  4. Sigma 17-70 / 2.8-4 OS does not have a hard stop (hard infinity mechanical stop) which allows you to accurately and quickly focus the lens to infinity under any external temperature conditions. For accurate aiming at infinity, you can’t just bring the focus ring to its extreme position
  5. The lens transmits the distance to the subject in the camera and is Nikon D-lens equivalent. Transmitting the focus distance affects metering, especially when using the flash. In simple situations, the Nikon SB-910/900 flash in i-TTL modes worked correctly with this lens
  6. Important: Sigma 17-70 / 2.8-4 OS is a third-party lens. It may happen that it will not work correctly with some cameras. Details on this issue are considered by me. here
  7. Teleconverter compatibility unknown
  8. Unknown compatibility with Nikon FTZ adapter for Nikon Z mirrorless cameras and unknown compatibility with the Nikon FT1 adapter for cameras Nikon 1
Sigma DC 17-70mm 1: 2.8-4 MACRO HSM Optical Stabilizer

Sigma DC 17-70mm 1: 2.8-4 MACRO HSM Optical Stabilizer

Image quality

The lens was designed at a time when the camera with the highest pixel density was Canon EOS 50D 15 MP (summer 2008), but nowadays the Sigma 17-70 / 2.8-4 OS easily digests cameras with a 24 MP APS-C sensor.

Sigma 17-70 / 2.8-4 OS is optically good, there are both weaknesses and strengths.


  • confident sharpness at an open aperture in the center of the frame in the range of 17-24-48 mm. In the wide-angle range, especially at 17 mm, the maximum resolution that the lens gives out in the center of the frame is achieved
  • very weak sharpness at the edges and corners of the frame at 17 mm at F / 2.8, at the edges of the frame, sharpness becomes acceptable after F / 5.6-F / 8.0, in the far corners of the frame it is very difficult to achieve acceptable sharpness
  • good resolution in the center of the frame on covered apertures (in the F / 8 region) in the range of 50-70 mm
  • there is a general slight drop in sharpness after 50 mm of focal length


  • the overall level of distortion is at a level typical for such lenses
  • rather strong distortion is visible only by 17 mm
  • distortion is practically absent and imperceptible in the range of 35-50 mm
  • in the wide-angle range, the distortion pattern is barrel-shaped, in the tele-range - pillow-like
  • the nature of distortion is unified, easily corrected in the editor


  • the overall level of vignetting is at a level typical for such lenses
  • vignetting is most pronounced at extreme positions: 17 mm at F / 2.8
  • with increasing focal length, vignetting at an open aperture decreases
  • vignetting almost disappears at F / 4-F / 4.5 for 17 mm and F / 5.6 for 70 mm
  • vignetting is practically independent of the focusing distance
  • vignetting is easily fixable in the editor


  • the strongest chromatic aberration visible at 17 mm and F / 2.8 at the edges and corners of the image
  • chromatic aberration decrease with increasing focal length
  • general level HA is at the level typical for such lenses


  • the lens tolerates side and backlight not bad, but still in some situations you can get a plentiful amount of glare
  • diaphragm blades form a heptagon curve on almost any hidden value
  • with closed apertures, you can get a pronounced effect of a 14-ray star

The data on this lens is in most popular RAW converters (it is definitely in ACR, Lightroom), which makes it very easy to correct distortion and vignetting with one click.

But in modern cameras, this lens is not 'sewn up' and it will be impossible to obtain automatic correction of some optical defects of the lens. For example, on camera Nikon D3200 with installed Sigma 17-70 / 2.8-4 OS function 'Auto. distortion control 'is inactive.

Sigma DC 17-70mm 1: 2.8-4 MACRO HSM Optical Stabilizer

Sigma DC 17-70mm 1: 2.8-4 MACRO HSM Optical Stabilizer

Nikon D3200 Sample Photos (APS-C 24 MP)

Examples are shown without treatment... Easily convert original RAW files with the original Nikon Capture NX-D v 1.4.6 utility.

  • Picture Control Mode: SD (Standard with default settings, 3, 0, 0, 0, 0)
  • White balance: Auto (with default offset)
  • Active D-lighting: ON (the camera does not allow you to select a level ADL)
  • Noise reduction: ON (the camera does not allow you to select the noise reduction intensity)
  • use of the function 'Aut. distortion control 'with this lens on the camera Nikon D3200 not available, but Capture NX-D automatically removes some chromatic aberration
  • The lens was used without filters, with the original lens hood in the active position.

Original RAW photos (12-bit '.NEF') can be download from this link (34 files, 750 MB).

Sigma DC 17-70mm 1: 2.8-4 MACRO HSM Optical Stabilizer

Sigma DC 17-70mm 1: 2.8-4 MACRO HSM Optical Stabilizer

Nikon D40 Sample Photos (APS-C 6 MP)

Examples of photos in the gallery below are slightly modified. I did not immediately notice that on my sensor Nikon D40 2 huge blots have formed (already removed, both in the images and on the sensor, but the attached RAW files are 'dirty').

Original RAW ('.NEF ") photos can be download from this link (50 files, 250 MB)

Sigma DC 17-70mm 1: 2.8-4 MACRO HSM Optical Stabilizer

Sigma DC 17-70mm 1: 2.8-4 MACRO HSM Optical Stabilizer

My experience

I pursue the idea that a photographer or amateur photographer should have one good and as fast as possible versatile lens for a wide range of tasks. The station wagon is the base from which you can shoot almost anything. To this base, it is then worth adding other creative / artistic / special lenses of a narrower specialization.

I tried all versions of Sigma 17-70 / 2.8-4 (4.5) and I must conclude that this is a very successful line of lenses. It partially allows you to touch the functionality of EX lenses (for example, the popular Sigma 17-50 / 2.8 EX OS) and at the same time has a very pleasant price tag, especially in the secondary market.

For the amateur photographer who wants to change their standard kit lens of class 18-55 / 3.5-5.6 (or similar) for something else, the Sigma 17-70 / 2.8-4 OS is just a godsend. This lens allows you to get the coveted F / 2.8, amateur 'macro', extended focal length range (17 vs 18, 70 vs 55) and all this for a very reasonable price.

Personally, I could safely attribute the Sigma 17-70 / 2.8-4 OS to the Sigma EX series of professional lenses. Conventionally, Sigma 17-70 / 2.8-4 OS can be considered an analog for full-frame professional lenses of the 24-105 / 4 class, for example, such as Canon EF 24-105 / 4 L IS USM.

It is a little strange that when updating the models, the maximum magnification factor all the time fell, from 1: 2.3 (2006/2007) to 1: 2.7 (2009) and 1: 2.8 (2012).

Of course, the updated Sigma 17-70 / 2.8-4 OS model in the face Sigma 17-70 / 2.8-4 OS CONTEMPORARY It will be a little better, but Sigma 17-70 / 2.8-4 OS nowadays can easily cope with its tasks even on cameras with a high pixel density.

Sigma DC 17-70mm 1: 2.8-4 MACRO HSM Optical Stabilizer

Sigma DC 17-70mm 1: 2.8-4 MACRO HSM Optical Stabilizer

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)

  1. 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)

  1. 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
  2. promaster DIGITAL XR EDO AF Ashperical LD ​​[IF] 17-50 mm 1: 2.8 MACROprevious lens under the brand Promaster
  3. 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
  4. 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)
  5. 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):

  1. 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'.
  2. Sigma dc 18-50mm 1: 2.8 EX MACRO, since September 2006, for Sigma SA, Nikon F, Canon EFS, Pentax K, 4/3
  3. Sigma dc 18-50mm 1: 2.8 EX MACRO HSM, since June 2007, for Nikon DX cameras only (Nikon F mount)
  4. 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
  5. Sigma dc 18-35mm F1.8 A [ART, HSM], from April 2013, for Sigma SA, Nikon F, Canon EFS, Pentax K, Sony / Minotla A
  6. 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):

  1. Sigma dc 17-70mm 1:2.8-4.5, February 2006, for Sigma SA, Nikon F, Canon EFS, Pentax K, Sony / Minotla A
  2. Sigma dc 17-70mm 1:2.8-4.5 MACRO HSM, from July 2007, for Nikon DX cameras only (Nikon F mount)
  3. 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
  4. 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
  5. 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)

  1. Nikon DX VR AF-S Nikkor 16-80mm 1:2.8-4E ED N, Nikon F mount, from July 2015
  2. 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)

  1. 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)
  2. HD PENTAX-DA * 1: 2.8 16-50 mm ED PLMAW, from July 2021, Pentax KAF4 mount
  3. HD Pentax-DA 1: 2.8-4 20-40 mm ED Limited DC WR, Pentax KAF3 mount, black or silver body, from November 2013
  4. 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)

  1. 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)

  1. Sony DT 2.8/16-50 SSM, Sony A mount (Minolta A), since August 2011
  2. Sony E 2.8/16-55G (Sony SEL1655G), Sony E bayonet mount, from August 2019


  1. Fujinon Ashperical Lens Nano-GI XF 16-55mm 1: 2.8 R LM WR, Fujifilm X mount, since January 2015
  2. Fujinon Ashperical Lens Super EBC XF 18-55mm 1:2.8-4 RLM OIS, Fujifilm X mount, September 2012

Samsung (NX)

  1. 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:

  1. OLYMPUS ZUIKO Digital 11-22 mm 1:2.8-3.5, from February 2004
  2. OLYMPUS Digital 14-54 mm 1:2.8-3.5, from June 2003
  3. OLYMPUS Digital 14-54 mm 1:2.8-3.5 II, from November 2008
  4. OLYMPUS ZUIKO Digital 14-35 mm 1: 2 ED SWDsince January 2005
  5. Panasonic Lumix LEICA D VARIO-ELMARIT 1: 2.8-3.5 /14–50 ASPH. MEGA OIS, from July 2006

Mirrorless Micro 4/3:

  1. OLYMPUS M.ZUIKO DIGITAL 12-40 mm 1:2.8 PRO, since October 2013
  2. Panasonic Lumix Leica DG Vario-Summilux 10-25 mm f / 1.7 ASPH.since May 2019
  3. 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)
  4. Panasonic Lumix Leica DG Vario-ELMARIT 1: 2.8-4.0 /12–60 ASPH., since March 2017
  5. Yongnuo 12-35 F2.8-4 STM ASPH, since April 2023

Sigma DC 17-70mm 1: 2.8-4 MACRO HSM Optical Stabilizer

Sigma DC 17-70mm 1: 2.8-4 MACRO HSM Optical Stabilizer


Lens prices can be viewed at E-Katalog on this link, or in the price block.


Sigma 17-70 / 2.8-4 OS is a balanced universal lens for cropped cameras. The entire Sigma 17-70 / 2.8-4 (4.5) line is very successful. In the secondary market, you can easily find lenses from this line in a very wide price range, depending on the year of manufacture and the availability of additional functions (HSM motor or OS stabilizer). Recent versions with a stabilizer are preferable to use.

For a small price, Sigma 17-70 / 2.8-4 OS allows you to replace an expensive professional Nikon 16-80 / 2.8-4E VR or similar lenses for other systems (models indicated at the beginning of the review).

10 main advantages

  1. low cost in the secondary market (especially compared to the original Nikon 16-80 / 2.8-4E VR)
  2. a very convenient set of focal lengths for working on cropped cameras with the Nikon DX series APS-C sensor, and at the same time a high aperture wide angle
  3. built-in image stabilizer at 4 steps (but in practice the efficiency is lower)
  4. built-in HSM focusing motor (critical for owners of low-end Nikon DX cameras)
  5. internal type focusing, very good maximum magnification ratio for macro shooting, which is 1: 2.7
  6. good build quality: metal bayonet mount, rubberized focus and zoom rings, bayonet type hood with the ability to install the reverse side, a lock for fixing the lens in position 17 mm
  7. special optical elements in the optical circuit (ELD, ASP)
  8. smooth and proportional drop in aperture from 17 to 70 mm of focal length
  9. the presence of a lens profile in most popular RAW converters (certainly there is in ACR, Lightroom)
  10. good optical performance (moderate distortion after 24 mm, low vignetting on covered diaphragms, moderate chromatic aberration, good sharpness in the center of the frame on covered apertures)

10 main disadvantages

  1. a very small distance from the subject to the front lens during macro shooting, in the vast majority of cases it will be impossible to carry out macro shooting at the maximum possible zoom for the lens when the lens hood is installed (lens hood rests on the subject at a scale of 1: 2.7)
  2. small stroke of the focus ring, insufficiently convenient manual focusing, rotation of the focusing ring during auto focus, lack of constant manual focus control
  3. stabilizer behavior is not as obvious as similar Nikon Nikkor lenses
  4. the direction of rotation of the focus ring and zoom does not coincide with the original similar lenses, for example, Nikon 16-80 / 2.8-4E VR
  5. medium (low) auto focus speed (at the same time quite comfortable for most tasks), a little noise from the focus motor
  6. no rubber lens mount sealfor example Nikon 16-85 / 3.5-5.6G VR he is
  7. rear lens movement during focal length changes, air pump effect
  8. 'drunken' heptagon of the aperture opening on covered diaphragms
  9. there may be incompatibility with some cameras and / or teleconverters (no exact data), lack of data about the lens in modern cameras, which makes it difficult to automatically correct some types of distortion (distortion, vignetting etc.)
  10. palpable barrel distortion at 17 mm focal length, palpable vignetting at 17 mm focal length, very poor resolution at 17 mm in the corners of the frame on open apertures

Comments on this post do not require registration. Anyone can leave a comment.

Specifically for the lens from the review many thanks the store ProFotoSalewhere you can find many new and used lenses for different systems, including similar lenses for slr cameras.

Material prepared Arkady Shapoval. Please, if this material was useful to you, help my project. And don't forget that everyone can write your review for one or another photographic equipment.

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Comments: 24, on the topic: Overview of Sigma DC 17-70mm 1: 2.8-4 MACRO HSM Optical Stabilizer

  • Neo

    The ant on d40 posed very well. Macro is great!

  • Pokemon

    Color with D40 is very festive)

  • Roman

    How good is this Sigma compared to Nikon 18-105?

    • Arkady Shapoval

      In general, it is better. Native Nikon is only longer and dearer.

  • Alexey

    I will add a little. In the stabilization unit there is a movable lens, which is moved and maintained in position with the help of three electromagnets. When stabilization is turned off, the electromagnets still work, but the lens is not displaced anywhere, but simply support it in a central position. Therefore, the sound is heard when the stub is off. When the camera turns off, the voltage from the electromagnets is removed and the lens simply drops. And if you shake the lens, you can hear how it hangs and knocks there. This is not a defect, this is normal :)

    Aperture 2.8 is not only 17 mm, but also 20 mm. A trifle, but nice :)

    About the plastic. All internal parts of the mechanism: helicoids, guides, etc. - metal. Plastic only on external parts. The structure is very sturdy and well made. But there is one weak point, and it is sooooo weak. This is a stabilization module loop. After a couple of years of operation, it will inevitably break. First, the stub lens starts jumping when zooming, then it just falls and dangles. The whole pain is that you can't just take and change this cable, because it is built into the stub module. A new module with a loop on Ali is about $ 100. I just fixed mine, until better times.

    • Arkady Shapoval

      The repairman described the situation with the stub to me exactly like yours.

      • Sergei

        Hello! Advise how to check whether or not the stabilizer on such a lens? Sorry for the possibly amateurish question.

        • Arkady Shapoval

          Only by experience. Turn on Live View, set 70 mm and you will see how the picture smoothly 'floats'. The same is through the optical viewfinder, but not so clearly. + when you turn off the camera in the OVI, it should be visible how the lenses are parked and the image twitches, the same when the camera is turned on. It is more difficult to do it by ear without experience. And it shouldn't 'click' when the focal length is changed from 18mm to 70mm. If it clicks when changing the focal length, then the stub is dead.

          • Sergei

            Thanks for the answer. I tried how you wrote. The picture does NOT float. But there are no sounds when moving from 17 to 70.

    • B. R. P.

      Thank you, very valuable information.

  • Vlad

    Arkady, you write:
    For a amateur photographer who wants to change his full-fledged whale lens of the 18-55 / 3.5-5.6 class (or similar) to something else, the Sigma 17-70 / 2.8-4 OS is just a godsend

    And also:
    Of course, the updated Sigma 17-70 / 2.8-4 OS model in the face of Sigma 17-70 / 2.8-4 OS CONTEMPORARY will be slightly better.

    At the same time in the review sigma 17-70: 2.8-4 C:
    in terms of resolution, the SIGMA C 17-70mm 1: 2.8-4 does not go much further than standard class 18-55 / 105/135/200 lenses.

    In the end: is it worth changing the native 18-55 af-p with an excellent stabilizer and autofocus to one of these sigma? Will there be a difference in principle?

    • Arkady Shapoval

      The picture in general with these Sigma is more interesting than with 18-55. Sigma is longer and lighter on the stop. But in terms of resolution, in general, the native af-p lens will be no worse, and sometimes better. Therefore, if only sharpness is important, then it is better to leave af-p. If you want a new feeling and a more interesting picture (primarily 70/4) then you should change it.

      • Vlad

        For an interesting picture there is 30 / 1.4 art, but lacks versatility. At 18-55 af-p, the picture is really very boring, so I look at the alternatives: this sigma, 17-50 / 2.8 ex, 18-35 / 1.8, tamrons 17-50 / 2.8. But for a universal lens, I would not want to lose in speed and accuracy af and the effectiveness of the stub, and the native 16-80 is too expensive. I think so

        • Arkady Shapoval

          If there is 30 / 1.4, then you need to look unequivocally at 17-50 / 2.8. And Sigma and Tamron are good each in their own way.

    • Denis

      The 18-55 AF-P is quite an ordinary lens, like all 18-55
      18-105 is much better
      and by the examples photo 17-70 is not impressive, especially the wide angle

    • Eugene o

      The only significant plus of the AF-P 18-55, in addition to resolution, is its compactness. I had such a Sigma 17-70, now I have Sigma 17-50 2.8, and so I’ll say that for home sorties crop + sigma in weight is almost like a full frame + 24-85, i.e. dofiga.

    • Taras

      I'm an amateur. Started with d40 kit + Sigma 70-300 5-5.6 macro dg. So it's true that sigma has a picture, I liked it from the first day of purchase, namely the picture. then sold it. Now all the nikors are sharp, beautiful, accurate, but they have a Nikorov picture. It is predictable ... now I have in my arsenal my family 50 1.4d, 85 1.8g, 70-210 f4, 18-55 kit, and I will say that their pictures are similar and not similar to sigma. Maybe not in the subject, but I wanted to speak about sigma)

      • Arkady Shapoval

        Perhaps the matter is still in d40?

  • Vladimir

    Arkady, good afternoon.

    Can you please tell me you have an article on how to clean the camera matrix yourself and if it is not there, will it be?

    Thank. I noticed some black dots in my photos. I think it's garbage on the matrix.

    • Arkady Shapoval

      There are a couple of notes like this better service

    • Alexey

      It can easily clean itself using the kits sold. And just with cotton swabs. At least with Nikon, the top glass is difficult to damage while in the mind. But one of my D610s (bought from my hands) had a scratch and had to change the first glass above the matrix. The service charges a lot for cleaning.

      • Alexey

        It really depends on what kind of device. Maybe it's something for a few thousand dollars, which you take with trembling hands :) Then to the service.

        • Pokemon

          Avito has a Kodak DCS Pro 14 with two scratches on the matrix.
          Now this is already a drama - there are no spare parts, no normal craftsmen in Moscow (although in the provinces someone is taken and wolver too).

          • Alexey

            on the matrix itself or on the glass in front of it? if anything, the glass can be removed. The AA filter is still not there.

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