If you are looking for a high-quality solution for every day, then the Sigma 17-50mm f / 2.8 EX DC OS HSM will be one of the best options for your camera.
Lens markings from the manufacturer Sigma
|APO||apochromatic||Abbreviation indicates chromatic aberration has been corrected in the lens.|
|DC||For cameras with a cropped sensor|
|DG||Lens for full-frame cameras|
|DN||Lens for mirrorless cameras|
|EX||"EX Series" professional series with balanced performance|
|HSM||Hyper sonic motor||Sigma ultrasonic motor|
|OS||optical stabilizer||Optical stabilizer|
|Sports||Sports Series Lens|
Sigma 17-50mm f / 2.8 EX DC OS HSM in action
For artistic photography, not the most suitable lens, but if you try, you can shoot good portraits. At an open aperture, purple halos appear in contrasting transitions, which can be removed in any graphics editor without problems. When shooting the Sigma 17-50mm gives a sharp picture with good color rendition and high contrast, I used it mainly for subjects and landscapes. I'm lying. For shooting everything. Portraits, objects, landscapes. I have him as a staff member. Was.
Great aperture saves great lens over the entire focal length range - for example, when shooting weddings, or other reportage. Especially good with him indoors. When you know how to work with an external on-camera flash - even better, but absolutely good - when you can also set exposure metering in accordance with the ambient light. The lens does not forgive strong failures, as well as exposure errors, despite the presence of a low-dispersion element in the lens system. Especially when shooting in backlight and side light. Although, maybe these are hands like that.
When set to full frame cameras Canon produces vignette at the corners, but the lens itself works flawlessly across the entire focal length range. For almost 5 years of operation, there were no problems with the lens, except for problems with the photographer's crooked hands. Overall, the Sigma 17-50 is a decent kit, and if possible, you can purchase it.
Comparing in due time Tamron 17-50 and Sigma AF 17-50mm, settled on the latter, despite the fact that tamron cost a little cheaper. I liked the fact that RAW with the Sigma 17-50mm lasted much better in difficult shooting conditions. And the equipment. The set, in addition to waste paper, included a cover of the "fabric wardrobe" type and a hood. The wardrobe trunk helps out when carrying, and the hood is not strong, but it saves you from light. With her, the camera takes on an aggressive look. Canon's hoods with covers, for example, fit only into lenses with the “L” index, here ...
According to the manufacturer's classification - Sigma 17-50mm DC OS HSM belongs to the professional series.
The Sigma AF 17-50mm has a very large front lens. And convex. You should be careful with it - in most cases, of course, I leave the hood as additional protection. Despite this, I managed, nevertheless, to put a couple of kotsok on it. Filter diameter - 77mm.
The lens body is made of plastic and has a matte finish. On the body, in the most popular places, there are ledges for a better grip. Rubber rings for focusing and changing the angle of view, including those with a ribbed surface. It's a shame, but the rubber bands on the zoom and focus rings are very good at picking up dust. The minus of the lens body is not hidden electronics, which is visible from the back side when the lens is removed and extended to the "50mm" position. This is a guaranteed pulling of dust from the outside into the lens unit, precisely because of the non-closed electronics.
The front of the Sigma 17-50 extends far enough when the focal length is changed, focusing while internal. The focusing ring at the slightest resistance (in AF ON mode) stops rotating and beeps - either protection against breakage, or a glitch. When autofocus is on, the focusing ring does not allow you to tighten the focus in one direction or another - you break the mechanics. The lens has a free travel beyond the "infinity" applied to the paint. Difficulties arise with determining the distance at night, since infinity, in fact, occurs a little later than the mark, but before the ring hits the limiter. This position is for the possibility of installing the lens on other systems without cardinal alteration of the design (optimization of production at the plant).
The Lock, OS and AF switches are located side by side, switching modes is not particularly difficult, even in winter, when working with gloves. But the criticism is caused by the built-in hood, which, if not brought into the firing position, will not make it convenient to work with the focusing ring. The Sigma 17-50 DC OS HSM has a very close focusing distance of only 28 centimeters. It's good when you're not going to shoot macro. When the lens is attached to the macro rings, it is impossible to focus on objects either manually or with autofocus.
The focus ring has limited travel. For me, in principle, this is not critical, since in manual mode I usually shoot either the starry sky or the subject for this site. Inaccuracy of the focusing ring is compensated by the large depth of field lens... The iris diaphragm has 7 blades. At lower values in hips nuts appear. The blur is not that artistic - it is. especially in portrait position (FR 50mm).
The stabilizer is a very interesting thing - on excerptx less than 1/30 it is no longer difficult to blur the image, while on the inexpensive Canon 70-300 telephoto lens at the far end, you can shoot as much as 1/8 without much effort. We save ourselves by changing the angle to a wide one, and pray in our hands, raising the ISO. Something like this. The stabilizer, in general, compensates for small tremors from the hands - but this is not enough for shooting, for example, video for review ... The operation of the stabilizer is audible to the naked eye, however, the one on Canon EF-s 18-55 II IS, for example, is generally silent. Plus, there are small chips in the load:
- turning off the stabilizer some time after turning off the camera
Move the lever to the OFF position and after 1-2 seconds you hear a knock inside the lens. The stabilizer fell. Probably tired.
- the stabilizer does not turn off immediately after shooting a series of frames
Solved the problem by disabling it after filming. It is necessary to save battery charge. If not disturbed, it turns off along with the camera's exposure metering.
Why choose the Sigma 17-50mm f / 2.8
The Sigma 17-50mm is very attractive despite its price, which is 6 times higher than the Canon 18-55mm lens. It is thanks to the presence
- demanded focal lengths,
- fast focusing drive,
- constant numerical equivalent aperture value at f / 2.8
- high-quality optics
- soft case and hood included
- metal mount bayonet Canon EFs,
- possibility of installation on an EF mount (I don't know why, but I did it, yes)
this lens is capable of becoming an indispensable assistant for a beginner (and advanced) photographer.
- Over time, dust collects inward, under the front lens bonding. Little pleasant
- The stabilizer is of little use
- Focus works loudly, mechanical gear drive
- No manual fine-tuning of autofocus in automatic mode
- The front lens requires careful handling.
- Still, 17-50 f2.8 is the 35mm full-frame equivalent. In fact, the lens is 27-80mm f / 4.5.
Sample photos and videos on the Sigma AF 17-50mm f / 2.8 EX DC OS HSM
Examples of photos. Everything was shot on a crop. Nobody was hurt in the extraction of examples for the Sigma AF 17-50mm review.
Sample video. Sigma AF 17-50mm f / 2.8 EX DC OS HSM, Canon 1300D
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