In the world of photography, choosing the perfect lens can be a challenging and crucial decision that can make or break your final image results. Today, we’ll be comparing two versatile and popular lenses for photographers seeking to elevate their work – the Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-50mm f/2.8.
These lenses cater to a wide range of photography styles, from landscape and architecture to portraits and video footages, offering a blend of performance and adaptability. With both lenses boasting unique strengths, we will delve into a comprehensive comparison to help you make an informed decision based on your specific needs, preferences, and budget.
By the end of this article, you’ll have a clear understanding of each lens’s key features, benefits, and how they can significantly improve your photography skills.
So, buckle up and let’s embark on a journey to discover which of these two lenses will become your ultimate photography companion!
Overview
| Nikon AF-S DX NIKKOR 16-85mm F3.5-5.6G ED VR | Sigma 17-50mm F2.8 EX DC OS HSM Nikon F (DX) | |
|---|---|---|
| Max Aperture | F3.5-5.6 | F2.8 |
| Aperture Type | Variable | Fixed |
| Focal Range (mm) | 16-85 | 17-50 |
| Mount Type | Nikon F (DX) | Nikon F (DX) |
| Zoom Ratio (X) | 5.3 | 2.9 |
Comparing the Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-50mm f/2.8, we can see some key differences.
The Nikon 16-85mm lens has a variable aperture of f/3.5-5.6, while the Sigma 17-50mm has a fixed aperture of f/2.8. This means the Sigma lens allows more light to enter the camera, providing better low-light performance and shallower depth of field. However, this advantage may not be as crucial for wide-angle photography, depending on the intended use.
The focal range of the Nikon lens is 16-85mm, giving it a 5.3x zoom ratio, while the Sigma lens has a 17-50mm focal range and a 2.9x zoom ratio. The wider focal range of the Nikon lens makes it more versatile for various photography genres. Both lenses are designed for Nikon F (DX) mount cameras.
The Sigma 17-50mm lens excel in low light situations and offer more consistent image quality across its zoom range due to its fixed aperture. However, the Nikon 16-85mm lens provides greater flexibility in terms of composition and framing, making it suitable for various photography genres and situations.
In conclusion, choosing the superior lens depends on your specific needs, preferences, and budget. If low light performance and a shallower depth of field are priorities, the Sigma 17-50mm lens may be the better choice. On the other hand, if you value versatility and a wider focal range, the Nikon 16-85mm lens could be the ideal option.
Design and Ease of Use
| Nikon AF-S DX NIKKOR 16-85mm F3.5-5.6G ED VR | Sigma 17-50mm F2.8 EX DC OS HSM Nikon F (DX) | |
|---|---|---|
| Diameter x Length (mm) | ⌀72×85mm | ⌀84×92mm |
| Weight (gr) | 485 | 565 |
| Filter Thread (mm) | 67 | 77 |
| Weather Sealing | No | No |
| Zoom Method | Rotary (extending) | Rotary (extending) |
| Distance Scale | Yes | Yes |
| DoF Scale | No | No |
| Hood Supplied | Yes | Yes |
The Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-50mm f/2.8 have a few notable differences in terms of size and weight.
The Nikon lens is more compact with a diameter of 72mm and a length of 85mm, while the Sigma lens is larger at 84mm in diameter and 92mm in length. This difference in size may impact portability and discreetness in certain photography situations. Additionally, the Nikon lens is lighter, weighing 485 grams compared to the Sigma lens at 565 grams. A lighter lens is generally easier to handle and carry around for extended periods.
Both lenses feature a rotary (extending) zoom method. This design is more straightforward and may result in lower prices and potentially increased durability compared to internal rotary zoom lenses. However, the extending design might make it more challenging to achieve effective weather sealing and could impact the camera’s balance as the lens extends and retracts while zooming.
In conclusion, the Nikon 16-85mm lens appears to be superior in terms of size and weight, offering better portability and ease of handling. However, the choice between the two lenses should ultimately depend on your specific needs and preferences in terms of focal range, aperture, and overall performance.
Lens Mount and Barrel
The lens mount of Nikon DX 16-85mm f/3.5-5.6 is made of metal with a standard dull chromed brass finish, providing durability and strength. Furthermore, it includes a weather sealing gasket around the edge, offering protection against dust and moisture.
The lens barrel is made from high-quality plastics, with rubberized zoom and focus rings for an excellent grip. The Nikon lens barrel extends approximately 42mm when zooming from wide-angle to maximum telephoto but remains compact and well-balanced on various camera bodies.
On the other hand, the lens mount of Sigma 17-50mm f/2.8 is also made of metal, contributing to the lens’s overall build quality. However, it lacks weather sealing gaskets, so it’s advisable to cover the lens when using it in light rain or dusty environments.
The lens barrel is constructed of plastic with some parts coated in Sigma’s rubberized coating for better traction. When zooming to the longest focal length of 50mm, the barrel extends about 2.7cm to the front. A lock switch is provided to keep the lens retracted at 17mm, preventing zoom creep.
In conclusion, the Nikon 16-85mm lens appears to have a superior lens mount and barrel, with weather sealing and a compact, well-balanced design. The Sigma 17-50mm lens has a solid build quality but lacks weather sealing.
Weather Sealing
The Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-50mm f/2.8 have different levels of weather sealing. The Nikon lens features a metal lens mount with a substantial weather sealing gasket around the edge, providing a strong barrier against dust and moisture. While this weather sealing offers some protection, it may not be as comprehensive as lenses with more extensive sealing features.
In contrast, the Sigma 17-50mm lens lacks weather sealing, having no gasket at the lens mount, internal seals at the rings and switches, or a fluorine coating on the front element. This makes the lens more vulnerable to dust, moisture, and light water splashes, requiring additional protection in inclement weather.
In conclusion, the Nikon 16-85mm lens has superior weather sealing compared to the Sigma 17-50mm lens, making it a better choice for photographers who frequently shoot in harsh or unpredictable conditions. The added protection ensures better durability, performance, and peace of mind for the user. However, if weather sealing is not a priority for you due to controlled shooting environments or budget constraints, the Sigma 17-50mm lens may still be a suitable option.
Rings
The Nikon DX 16-85mm f/3.5-5.6 features 2 rubber-ribbed rings for zoom and focus control. The zoom control rotates smoothly about 90 degrees from the shortest to longest focal length and is firm with no zoom creep. The focus control rotates about 130 degrees, providing sufficient travel for easy manual focusing. The lens has a windowed distance scale but lacks a depth-of-field indicator and an extension lock switch on the zoom ring.
On the other hand, the Sigma 17-50mm f/2.8 has 2 rings—a focus ring and a zoom ring. The focus ring, located towards the front of the lens, has raised rubber ribs and a small focusing range of only 45 degrees, which makes manual focusing slightly tedious. The focus ring is not dampened and turns freely, posing potential issues during autofocus.
The wider zoom ring, composed of large raised rubber ribs, has around 45 degrees of rotation and a nice level of resistance with no zoom creep. The zoom ring also features a zoom lock to fix the lens at 17mm. Both rings are smooth with no play, but the focus ring is slightly too easy to rotate. The lens lacks a windowed distance scale and depth-of-field indicator but has a focus distance scale printed on the manual focus ring.
In conclusion, the Nikon 16-85mm lens offers superior ring design compared to the Sigma 17-50mm lens. The Nikon lens provides better ergonomics, precision, and control in its zoom and focus rings. The smoothness and resistance of the rings make it easier to achieve precise adjustments during shooting.
Switches/Buttons
The Nikon DX 16-85mm f/3.5-5.6 has 3 switches/buttons. The first switch is for activating and deactivating autofocus with manual override (AF/MF switch), providing flexibility in focusing. The second switch is for activating and deactivating Vibration Reduction, with 2 modes to choose from (IS switch), offering stability in various shooting conditions. By using the third switch, it is possible to adjust the sensitivity level of the VR mode, which can be set to either normal or active mode.
The design of these switches is well thought out and user-friendly, making it simple to switch between different modes when necessary. The AF/MF switch is labeled as “M/A M,” indicating autofocus with instant manual override, allowing the user to switch to manual focus mode by turning the focus ring at any time.
On the other hand, the Sigma 17-50mm f/2.8 features 2 switches, one for image stabilization and one for autofocus/manual focus. These switches are noticeably raised from the lens barrel and located close to the lens mount. They are easy to locate and use without causing discomfort during shooting.
In conclusion, the Nikon 16-85mm lens offers superior switch/button design and functionality compared to the Sigma 17-50mm lens. The Nikon lens provides more options, flexibility, and user-friendliness with its well-designed switches, allowing for better control and customization during shooting.
While the Sigma 17-50mm lens has accessible and easy-to-use switches, it lacks the additional VR mode sensitivity switch found in the Nikon lens.
Filter Thread
The Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-50mm f/2.8 have different filter thread sizes and designs, which influence their compatibility with various filters.
The Nikon 16-85mm lens features a plastic 67mm filter thread, which is lightweight and cost-effective. The front element of this lens does not rotate while focusing or zooming, making it easy to use with polarizers and graduated filters. Furthermore, it can accommodate a double-stack of filters 11mm thick (excluding rear threads) without causing vignetting.
On the other hand, the Sigma 17-50mm lens has a 77mm plastic filter thread, which is larger than that of the Nikon lens. Located at the front of the lens, it holds large, vignette-free filters and offers a thread to attach the included lens hood. Like the Nikon lens, the front element of the Sigma lens does not rotate while focusing, making it easy to use with filters such as circular polarizers and ND grads.
In conclusion, the best filter thread depends on your personal preferences, photography needs, and existing gear. While both lenses have plastic filter threads, the Nikon 16-85mm lens has a smaller filter thread size of 67mm, which may be more cost-effective and compatible with existing filters. However, the Sigma 17-50mm lens with its 77mm filter thread size can accommodate larger filters, potentially providing better image quality and reduced vignetting.
Lens Hood
The Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-50mm f/2.8 both come with petal-shaped lens hoods designed to reduce extraneous light and prevent flare and loss of contrast in images.
The Nikon 16-85mm lens hood is a reasonably deep design made of lightweight plastic material, fitting firmly on the lens for optimal performance. Although the lens hood can be rotated smoothly, it may not be as efficient in blocking stray light when used at 85mm as it is at wider angles. Nevertheless, this accessory can still be quite helpful in enhancing the quality of your photos.
The Sigma 17-50mm lens hood, also petal-shaped, features a bayonet-fit design. It is made of plastic with a smooth exterior finish and a deeply ribbed interior to further reduce stray light. Some users noted that the hood does not feel secure and can spin off easily, but an adjustment tab is available to click it in place. It adds around 1.5 inches to the overall length of the lens and can be reversed for storage.
In conclusion, both lens hoods have their advantages and drawbacks. The Nikon 16-85mm lens hood is more effective at wider angles, whereas the Sigma 17-50mm lens hood has a ribbed interior for better light reflection prevention. However, the Sigma lens hood may not feel as secure as the Nikon one.
Ultimately, the best lens hood depends on your specific needs and preferences. If you prioritize a firm-fitting lens hood, the Nikon 16-85mm is the better choice. If you value a lens hood with a ribbed interior to reduce light reflections, the Sigma 17-50mm lens hood is superior.
Focusing and Optical Stabilization
| Nikon AF-S DX NIKKOR 16-85mm F3.5-5.6G ED VR | Sigma 17-50mm F2.8 EX DC OS HSM Nikon F (DX) | |
|---|---|---|
| Autofocus | Yes | Yes |
| AF Motor | Silent Wave Motor | Hyper Sonic Motor |
| Rotating Front Element | Does not rotate on focusing | Does not rotate on focusing |
| Min Focus Distance | 0.38m | 0.28m |
| Max Magnification (X) | 0.22 | 0.2 |
| Full-Time Manual Focus | Yes | No |
| Focus Method | Internal | Internal |
Focusing Performance
The Nikon DX 16-85mm f/3.5-5.6 features an AF-S motor, providing fast and near-silent AF operations. Its autofocus motor works accurately, albeit at an average speed, and produces a quiet whirring sound.
This lens also allows for manual focus override and has an internally focusing design, meaning the lens length remains constant regardless of focus and zoom settings. However, it exhibits significant focus breathing and occasionally produces an audible squeak during focusing.
On the other hand, the Sigma 17-50mm f/2.8 offers decent autofocus performance, with a generally fast focusing speed and good low-light performance. It does not have a manual focus override, and switching between autofocus and manual focus requires using a small switch on the lens barrel.
The manual focus ring action is smooth, but the short throw makes precise adjustments challenging. This lens features an externally focusing design, meaning the lens length changes as you focus and zoom. However, it does not exhibit significant focus breathing, making it more suitable for video work.
In conclusion, the best focusing performance depends on your specific needs and preferences. If near-silent autofocus, manual focus override, and an internally focusing design are important to you, the Nikon 16-85mm lens is the superior choice. However, if you prioritize fast autofocus performance and minimal focus breathing for video work, the Sigma 17-50mm lens is the better option.
Optical Stabilization
The Nikon DX 16-85mm f/3.5-5.6 features second-generation optical stabilization (VR II), which allows for up to 4 stops slower shutter speeds than recommended by the rule of thumb. There are two VR modes available for this lens, namely normal and active modes. The latter is particularly sensitive to camera movement. The VR system is effective in low light situations and helps keep still shots sharper and video footage smoother, without making any audible noise during operation.
In contrast, the Sigma 17-50mm f/2.8 is equipped with Sigma’s optical stabilization, also rated at 4 stops of effectiveness. This lens provides excellent stabilization with flawless silence, speed, and precision in compensating for camera movement.
The Sigma lens has a single mode of stabilization and is also noiseless during operation. At 17mm, the lens can provide sharp handheld shots in low light with a net 3-stops of assistance from OS at 1/4 sec exposures, while at 50mm, the shutter speed limit for sharp images is around 1/10 or 1/8 with a net 3-stops of assistance from OS.
In conclusion, both lenses offer solid optical stabilization performance, but the Nikon 16-85mm has the advantage of 2 VR modes, providing more versatility for different shooting scenarios. However, the Sigma 17-50mm still performs well with its single mode of stabilization.
Image Quality
| Nikon AF-S DX NIKKOR 16-85mm F3.5-5.6G ED VR | Sigma 17-50mm F2.8 EX DC OS HSM Nikon F (DX) | |
|---|---|---|
| Special Elements | 2x ED glass elements and 3x aspherical lens elements | 2 FLD glass elements 2 glass mold elements 1 hybrid aspherical lens |
| Diaphragm Blades | 7 | 7 |
| Circular Aperture | Yes | No |
Aberration
The Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-50mm f/2.8 both demonstrate varying levels of aberration control throughout their zoom ranges.
The Nikon 16-85mm lens performs exceptionally well in terms of chromatic aberration, exhibiting excellent control across the entire zoom range. Even at its worst, chromatic aberration is only visible at around 5/100ths of a percent of frame height when using the lens at its telephoto end of 85mm. However, between 24mm and 70mm, chromatic aberration is nearly non-existent.
To eliminate coma and spherical aberration, this lens features 3 aspherical lens elements, which are effective in managing these types of lens distortion. Nevertheless, at 16mm, there might be some noticeable field curvature in the extreme corners as well as a bit of focus shift when stopping down, which are residual spherical aberrations.
In contrast, the Sigma 17-50mm lens exhibits chromatic aberration, particularly at the 17mm focal length, where green and purple fringing is noticeable in the corners. Stopping down to f/4 improves sharpness and contrast, but chromatic aberration remains visible. Chromatic aberration is better controlled at 28mm and 50mm focal lengths, and corner sharpness improves.
The lens performs well in terms of coma, making it suitable for astrophotography, although corners may display pronounced coma, chromatic aberration, and astigmatism. Spherical aberration is not a significant issue for this lens, but axial aberrations are visible as purple halos around contrast areas, resulting in a loss of resolution, particularly when the lens is wide open. Despite these aberrations, the lens delivers near-perfect performance for a low-cost zoom, thanks to the high technology glasses used in its construction.
In conclusion, the Nikon 16-85mm lens offers superior aberration control compared to the Sigma 17-50mm lens, particularly in terms of chromatic aberrations. However, the Sigma 17-50mm still delivers an impressive performance for its price point.
Sharpness
The Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-50mm f/2.8 both display varying levels of sharpness performance throughout their zoom ranges.
One of the most remarkable features of the Nikon 16-85mm lens is its sharpness, which remains impressive even when shooting at maximum aperture and towards the center of the frame. Across the frame, the sharpness is consistent, with only minor variations noted when capturing special test subjects at full aperture and enlarging images to considerable sizes. This has earned the lens a lot of praise from photographers.
The corner sharpness of this lens is quite good, although some minor softness may be noticeable when using it wide open at 16mm or 85mm. If you stop down to f/5.6 or f/8, you will notice that the sharpness of the image is exceptional throughout the entire frame. The sharpest aperture varies depending on focal length but generally falls within the range of f/5.6 to f/8.
On the other hand, the Sigma 17-50mm lens exhibits good center sharpness throughout the zoom range, even at its wide-open aperture of f/2.8. Corner sharpness is less impressive when the aperture is wide open, particularly at 17mm. Stopping down the aperture to f/5.6 or f/8 significantly improves corner sharpness, with the sharpest point being at 50mm and f/8, where the entire frame appears almost tack-sharp. While the lens may not be perfect in terms of sharpness, it still delivers excellent performance for its price range, especially in the center.
In conclusion, the Nikon 16-85mm lens offers superior sharpness performance compared to the Sigma 17-50mm lens, particularly in terms of even sharpness across the frame and adaptability throughout the aperture range. Nonetheless, the Sigma 17-50mm lens still provides impressive results for its price point. Depending on your specific requirements and budget, either lens could be a suitable choice, with the Nikon 16-85mm holding an edge in sharpness performance.
Bokeh Quality
The Nikon DX 16-85mm f/3.5-5.6 delivers mixed results when it comes to bokeh. When shooting at 85mm and f/5.6, the bokeh of this lens is satisfactory for both highlights and general blur, but it is not especially noteworthy. However, when moving towards 50mm and f/5, the blur can be quite busy, with noticeable shape shadows and outlining effects around highlights that are not visually appealing. Due to its rather slow maximum aperture, the bokeh is generally underdeveloped in conventional scenes, and at 50mm, it can be particularly harsh.
In contrast, the Sigma 17-50mm f/2.8 produces a mixed bag of out-of-focus quality. The 7-blade aperture struggles to maintain a circular shape beyond f/4, resulting in heptagon highlights. The aspherical elements create strong edges on bokeh lights, which can be unappealing at close range distances.
Additionally, at the minimum focusing distance and maximum focal length, the bokeh blends with poor chromatic aberrations, making the effect look worse. However, in some cases, the bokeh can look nice, creating a pleasing background blur, but it’s not consistently smooth and beautiful throughout.
In conclusion, both lenses have their shortcomings when it comes to bokeh quality. However, considering the overall performance and occasional pleasing background blur, the Sigma 17-50mm lens might have a slight edge over the Nikon 16-85mm lens.
It’s important to note that bokeh quality may not be a primary concern for wide-angle photography, as they are generally designed for capturing broader scenes with an emphasis on depth of field. Nonetheless, in situations where bokeh does play a role, such as environmental portraits or close-up photography, the Sigma 17-50mm lens could provide a more satisfactory result.
Flare/Ghosting
The Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-50mm f/2.8 demonstrate different levels of flare and ghosting control.
The Nikon 16-85mm lens is fairly resistant to flare, with only very strong light sources causing any issues. A reasonably deep petal-shaped lens hood is provided, which helps in keeping extraneous light from causing flare and loss of contrast in images.
When shooting in the presence of bright lights, this lens may exhibit some flaring artifacts and a decrease in contrast, especially when zoomed in. Although the lens typically performs well in terms of flare resistance, it is still essential to exercise caution when shooting to prevent any undesired flaring or loss of contrast.
On the other hand, the Sigma 17-50mm lens demonstrates impressive flare and ghosting control. In various test scenarios, such as shooting directly into the sun or capturing images with strong backlight, the lens performs remarkably well, with minimal flare or ghosting issues.
The presence of a lens hood further aids in reducing flares and unwanted reflections. This level of performance ensures that the captured images maintain their clarity and contrast even in challenging lighting conditions.
In conclusion, the Sigma 17-50mm lens outperforms the Nikon 16-85mm lens when it comes to flare and ghosting control. Its ability to maintain image clarity and contrast in challenging lighting conditions makes it a superior choice for photographers who need to capture images in diverse environments with varying light sources.
Vignetting
The Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-50mm f/2.8 exhibit different levels of vignetting control. Vignetting is somewhat noticeable in the Nikon 16-85mm lens, particularly when shooting wide open at 16mm. Nevertheless, this is a common issue in wide-angle lenses and can easily be corrected using post-processing software. At other focal lengths and smaller apertures, the vignetting is well-controlled, with only a slight darkening of the corners.
In contrast, the Sigma 17-50mm lens controls vignetting quite well, with only slight corner shading at wide open apertures and noticeably less in the mid focal lengths. Stopping down to f/4 reduces corner shading to about 1 stop at 17mm, and about 0.8 stops remain at 17mm even at f/11.
However, a normal thickness circular polarizer filter can add a small amount of mechanical vignetting at 17mm even at f/11. Larger aperture primes suffer more from vignetting than this zoom. Overall, the Sigma 17-50mm lens exhibits standard vignetting for its class but with good control.
In conclusion, the Sigma 17-50mm lens outperforms the Nikon 16-85mm lens in terms of vignetting control. While both lenses display some vignetting, the Sigma 17-50mm manages to control it better across various focal lengths and apertures.
Distortion
The Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-50mm f/2.8 display varying levels of distortion control.
When shooting with the Nikon 16-85mm lens, some degree of distortion can be observed, especially in the form of barrel distortion at wider focal lengths and pincushion distortion at longer focal lengths. Nevertheless, the level of distortion is not extreme, and it can be corrected using post-processing software. In comparison to other similar zoom lenses, the Nikon 16-85mm lens has relatively low levels of distortion. Although there is some level of distortion present in the lens, it is not a significant issue and can be effectively managed.
On the other hand, the Sigma 17-50mm lens distortion varies depending on the focal length used. At 17mm, the lens has medium levels of barrel distortion, which decreases as the focal length increases. However, at the telephoto end (50mm), there is slight pincushion distortion that drops the lines to the frame center, visible mostly on the horizon.
Distortion is typical for a wide-angle zoom lens, and the Sigma 17-50mm has minimal distortion, especially in the middle sector of the zoom range, meeting the zero-distortion point at around 24mm. The lens is well-controlled, and any distortion can be fixed with Adobe Photoshop Lightroom if it’s an issue.
In conclusion, the Sigma 17-50mm lens demonstrates superior distortion control compared to the Nikon 16-85mm lens. With minimal distortion, particularly in the middle sector of the zoom range, the Sigma 17-50mm is an excellent choice for photographers who seek a lens with a better distortion control performance.
Final Verdict
To sum up, the decision between the Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-50mm f/2.8 ultimately comes down to your particular requirements, personal preferences, and financial constraints.
The Nikon 16-85mm lens offers superior portability, weather sealing, aberration control, and sharpness performance. It also provides better autofocus features, such as near-silent autofocus, manual focus override, and an internally focusing design, as well as having 2 VR modes for optical stabilization. This lens is ideal for photographers who value versatility, wider focal range, and shoot in harsh or unpredictable conditions.
On the other hand, the Sigma 17-50mm lens, although more expensive, outperforms the Nikon 16-85mm in low light performance, flare and ghosting control, vignetting control, distortion control, and has a slight edge in bokeh quality. This lens is suitable for photographers who prioritize fast autofocus performance, minimal focus breathing for video work, and better performance in diverse environments with varying light sources.
In summary, if you value versatility, weather sealing, and overall sharpness, the Nikon 16-85mm may be the ideal option. However, if you are willing to spend more for better low light performance, distortion control, and improved flare/ghosting control, the Sigma 17-50mm could be the better choice. Assess your specific requirements and budget to determine which lens will best suit your needs.
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