Nikon DX 16-85mm f/3.5-5.6 vs. Sigma 17-70mm f/2.8-4: Battle of the Versatile Zooms – Unveiling the Perfect Lens for Your Creative Vision

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Are you in search of a versatile, high-quality zoom lens for your photography adventures? Look no further!

In this article, we will dive deep into the world of the Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-70mm f/2.8-4, two impressive contenders in the realm of versatile zoom lenses. With their unique strengths and capabilities, these lenses cater to a wide array of photography styles, from landscapes and architecture to portraits and close-ups.

Whether you’re an amateur photographer looking to upgrade your gear or a seasoned professional seeking the perfect balance of performance and portability, our in-depth comparison will help you make an informed decision.

We’ll explore various aspects such as sharpness, distortion, bokeh, and low-light performance, as well as more practical concerns like weight, weather sealing, and focusing capabilities.

By the end of this article, you’ll have a clear understanding of which lens best suits your photography needs, enabling you to capture stunning images with confidence.

So, sit back, relax, and let’s embark on this exciting journey together as we uncover the true potential of these two remarkable lenses!

Overview

Nikon AF-S DX NIKKOR 16-85mm F3.5-5.6G ED VRSigma 17-70mm F2.8-4 DC MACRO OS HSM C Nikon F (DX)
Max ApertureF3.5-5.6F2.8-4.0
Aperture TypeVariableVariable
Focal Range (mm)16-8517-70
Mount TypeNikon F (DX)Nikon F (DX)
Zoom Ratio (X)5.34.1

The Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-70mm f/2.8-4 are both variable aperture lenses designed for the Nikon F (DX) mount.

Comparing the two, the Nikon 16-85mm has a slightly wider focal range of 16-85mm with a 5.3x zoom ratio, offering more versatility for different shooting situations. Its maximum aperture ranges from f/3.5 to f/5.6. On the other hand, the Sigma 17-70mm has a focal range of 17-70mm and a 4.1x zoom ratio. Its maximum aperture is wider, ranging from f/2.8 to f/4.0, which allows more light to enter the camera and can be beneficial for low light performance and creating a shallower depth of field.

So, the Sigma 17-70mm have better low light performance, depth of field control due to its larger maximum aperture. However, the Nikon 16-85mm has a wider focal range, which can be useful for various photography genres and situations. The choice between these two lenses depends on the specific requirements and intended use of the lens.

In conclusion, if low light performance, and depth of field control are your primary concerns, the Sigma 17-70mm is likely the superior choice. However, if you value versatility and a wider focal range, the Nikon 16-85mm might be more suitable for your needs.

Design and Ease of Use

Nikon AF-S DX NIKKOR 16-85mm F3.5-5.6G ED VRSigma 17-70mm F2.8-4 DC MACRO OS HSM C Nikon F (DX)
Diameter x Length (mm)⌀72×85mm⌀79×82mm
Weight (gr)485470
Filter Thread (mm)6772
Weather SealingNoNo
Zoom MethodRotary (extending)Rotary (extending)
Distance ScaleYesYes
DoF ScaleNoNo
Hood SuppliedYesYes
Hood CodeHB-39LH780-03

The Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-70mm f/2.8-4 both feature a rotary (extending) zoom method and are designed for the Nikon F (DX) mount. In terms of dimensions, the Nikon 16-85mm measures ⌀72x85mm and weighs 485 grams, while the Sigma 17-70mm is slightly larger in diameter at ⌀79x82mm but lighter, weighing 470 grams.

The Sigma 17-70mm is more lightweight, which could make it easier to carry around and potentially more comfortable to use during extended periods. The lighter weight might also make lens swapping quicker and more convenient. However, the Nikon 16-85mm is slightly more compact in terms of length, which could make it easier to store in a camera bag and contribute to a more balanced camera setup.

Both lenses feature an extending rotary zoom method, which generally offers a simpler design and potentially increased durability. However, this design can also make the lenses more difficult to weather-seal and result in a changing balance while zooming due to the extending and retracting nature of the lenses.

In conclusion, the choice between the Nikon 16-85mm and Sigma 17-70mm lenses primarily depends on your preferences in terms of size and weight. If you prioritize a lighter lens for portability and ease of use, the Sigma 17-70mm might be the better option. However, if a more compact lens in terms of length is more important to you, the Nikon 16-85mm could be the superior choice.

Lens Mount and Barrel

The Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-70mm f/2.8-4 differ in their lens mounts and barrels.

The Nikon 16-85mm lens mount is constructed of metal, resembling a standard dull chromed brass Nikon mount, and includes a weather sealing gasket around the edge of the mount. In contrast, the Sigma 17-70mm lens mount is also made of metal but lacks a rubber gasket.

Regarding the lens barrel, the Nikon 16-85mm features a high-quality plastic construction with a sleek, professional finish. Rubberized zoom and focus rings provide excellent grip and ergonomic comfort. The barrel extends by about 42mm when zooming from wide-angle to maximum telephoto, yet remains compact and well-balanced on various camera bodies.

The Sigma 17-70mm lens barrel, on the other hand, is made of black plastic with a modern, clean design. The lens extends 1.5 inches when zoomed in towards 70mm, and the telescopic inner tube appears solid and sturdy. It has a distance scale etched onto the focus ring and macro reproduction ratios marked on the barrel, visible when the lens is zoomed out.

While plastic lens barrels are generally lighter and more budget-friendly, they may not be as durable as metal barrels. Metal barrels, however, can be heavier and less portable. The choice of material for the lens mount depends on factors like cost, durability, and weight, with various materials offering unique advantages and disadvantages.

In conclusion, the Nikon 16-85mm lens mount and barrel are superior due to the weather sealing gasket and high-quality plastic construction, offering a balance between durability and portability. The Sigma 17-70mm, while still a solid option, lacks weather sealing and may not be as robust in design.

Weather Sealing

The Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-70mm f/2.8-4 differ in terms of weather sealing.

The Nikon 16-85mm lens has a metal lens mount with a substantial weather sealing gasket around the edge, which offers a strong barrier against dust and moisture. Although it provides some weather sealing, it may not be as comprehensive as lenses with more extensive sealing features.

In contrast, the Sigma 17-70mm lens does not have explicit weather sealing or gaskets at the mount, and there are no internal seals at the rings, switches, or front of the barrel.

Ensuring weather resistance is crucial to safeguard a lens against dust, moisture, and even light water splashes. This feature guarantees that the lens will endure and perform optimally in different weather environments. Lenses that are fully weather-sealed provide superior protection, durability, and performance in unfavorable conditions when compared to lenses that are not sealed. While weather sealing is not essential for indoor portrait photography, it can be beneficial if you frequently shoot outdoor or in unpredictable weather conditions.

In conclusion, the Nikon 16-85mm lens offers superior weather sealing compared to the Sigma 17-70mm lens, providing better protection against environmental elements. This can be especially valuable for photographers who often shoot in challenging environments or wish to safeguard their lens investment. However, if weather sealing is not a top priority for your photography needs, the Sigma 17-70mm lens may still be a suitable option.

Rings

The Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-70mm f/2.8-4 have notable differences in their ring designs.

The Nikon 16-85mm lens features 2 rubber-ribbed rings for zoom and focus control, providing comfortable grip and easy handling. Its zoom control rotates about 90 degrees from shortest to longest focal length and is firm without any zoom creep.

The focus control rotates about 130 degrees, allowing for precise manual focusing. However, the zoom ring stiffens up slightly beyond 50mm. 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 17-70mm lens has 2 rubberized rings: a wider zoom ring with raised ribs and focal length markings, and a narrower focus ring with ridges for grip. Both rings rotate smoothly, with the zoom ring extending as it zooms towards 70mm.

The lens lacks an extension lock switch, windowed distance scale, and depth-of-field indicator. The focus ring is mechanically coupled to the internal hypersonic motor and only works in MF mode. The zoom mechanism is stable, showing only a marginal amount of wobbling at the most extreme zoom setting.

In terms of ergonomics, precision, and control, the Nikon 16-85mm lens appears to offer a superior experience with its rubber-ribbed rings and smoother zoom control. The additional windowed distance scale is also an advantage. However, the Sigma 17-70mm lens still provides a decent user experience with its rubberized rings and smooth rotation.

Switches/Buttons

The Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-70mm f/2.8-4 have distinct differences in their switches and buttons.

The Nikon 16-85mm lens has 3 switches/buttons, including an AF/MF switch for activating and deactivating autofocus with manual override, an IS switch for activating and deactivating Vibration Reduction with two modes to choose from, and a third switch for setting the VR mode sensitivity level (normal or active).

The design of these switches is well thought out and user-friendly, making it simple to switch between different modes when necessary. In addition, the AF/MF switch is marked as “M/A M,” signifying that it provides autofocus with immediate manual override, enabling the focus ring to be rotated anytime to switch to manual focus mode.

On the other hand, the Sigma 17-70mm lens has 2 switches located on the side of the barrel. The larger switch controls the autofocus mechanism, while the smaller switch enables or disables the optical stabilization. The AF switch is easily distinguishable by touch alone and has a white inlay visible when the lens is set to AF. The switches are conveniently positioned close to the lens mount, making them easily accessible with your left thumb, and they are noticeably raised from the lens barrel.

In terms of switches and buttons, the Nikon 16-85mm lens offers more options and better user-friendliness with its three well-designed switches. The additional switch for VR mode sensitivity level and the instant manual override feature provide extra flexibility and control. However, the Sigma 17-70mm lens still provides a decent user experience with its two conveniently placed switches and distinguishable design.

Filter Thread

The Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-70mm f/2.8-4 have differences in their filter threads.

The Nikon 16-85mm lens features a plastic 67mm filter thread. Its non-rotating front element makes it convenient to use with polarizers and graduated filters. Impressively, even with a double-stack of filters 11mm thick (excluding rear threads), there is no vignetting.

In contrast, the Sigma 17-70mm lens has a plastic filter thread with a diameter of 72mm. Like the Nikon lens, it also has a non-rotating front element with a hood thread on the very edge. However, the 72mm diameter is slightly larger and fairly rare for lenses in this size and price range, potentially necessitating the purchase of bigger and more expensive filters. Despite this, the lens generally handles flare well and is not excessively affected by strong light sources.

Comparing the two filter threads, the Nikon 16-85mm lens has a more common 67mm diameter, making it easier and more cost-effective to find filters. Additionally, the lack of vignetting with thick filters is a significant advantage. On the other hand, the Sigma 17-70mm lens’s 72mm filter thread may require purchasing larger filters, potentially increasing costs. Nevertheless, it still performs well in terms of handling flare and light sources.

Lens Hood

The Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-70mm f/2.8-4 come with different lens hoods included in their packages.

The Nikon 16-85mm lens hood is a reasonably deep, petal-shaped design made of lightweight plastic material. It efficiently minimizes unwanted light, preventing flare and loss of contrast in captured images. While the lens hood fits firmly on the lens and can be rotated smoothly, its effectiveness in blocking stray light decreases at 85mm.

On the other hand, the Sigma 17-70mm lens hood is also a petal-shaped design with a smooth rotation mechanism and a thread on the edge. By adding 1 3/8 inches to the overall length of the lens, it helps to prevent fingers and other objects from touching the front element. Furthermore, the Sigma center-and-side-pinch lens cap is easy to install or remove with the hood in place, adding convenience for users.

Both lens hoods serve their purpose in reducing flare and maintaining image contrast. However, the Nikon 16-85mm lens hood’s deeper design and firmer fit may provide slightly better protection from extraneous light and physical impacts. Conversely, the Sigma 17-70mm lens hood’s larger size and compatibility with the center-and-side-pinch lens cap may offer an advantage in terms of convenience and ease of use.

In conclusion, the Nikon 16-85mm lens hood can be considered superior in terms of light-blocking effectiveness and protection, while the Sigma 17-70mm lens hood excels in convenience and user-friendliness.

Focusing and Optical Stabilization

Nikon AF-S DX NIKKOR 16-85mm F3.5-5.6G ED VRSigma 17-70mm F2.8-4 DC MACRO OS HSM C Nikon F (DX)
AutofocusYesYes
AF MotorSilent Wave MotorHyper Sonic Motor
Rotating Front ElementDoes not rotate on focusingDoes not rotate on focusing
Min Focus Distance0.38m0.22m
Max Magnification (X)0.220.36
Full-Time Manual FocusYesNo
Focus MethodInternalInternal

The Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-70mm f/2.8-4 differ in their minimum focus distance, maximum magnification, and full-time manual focus capabilities.

The Nikon 16-85mm has a minimum focus distance of 0.38m and a maximum magnification of 0.22x, while the Sigma 17-70mm offers a shorter minimum focus distance of 0.22m and a higher maximum magnification of 0.36x.

A shorter minimum focus distance, as found in the Sigma 17-70mm, allows you to get closer to your subject, capturing fine details and textures, especially in macro photography. On the other hand, the Nikon 16-85mm’s longer minimum focus distance might be more suitable for portrait or landscape photography, where you don’t need to be as close to your subject.

In terms of maximum magnification, the Sigma 17-70mm outperforms the Nikon 16-85mm, enabling you to capture more detailed, close-up images of small subjects or intricate textures. However, it’s important to consider the working distance (the distance between the front of the lens and the subject) in addition to the minimum focus distance when evaluating a lens for close-up or macro photography.

Lastly, the Nikon 16-85mm features full-time manual focus, allowing you to make fine adjustments to the focus manually without switching between manual and autofocus modes. This can be especially useful in macro photography, where precise focusing is crucial. The Sigma 17-70mm, however, does not offer this feature.

In conclusion, if you prioritize close-up or macro photography and want a lens with a shorter minimum focus distance and higher maximum magnification, the Sigma 17-70mm is the superior choice. However, if full-time manual focus is essential for your photography style, the Nikon 16-85mm might be the better option.

Focusing Performance

The Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-70mm f/2.8-4 offer different focusing performance characteristics.

The Nikon 16-85mm lens features an AF-S motor, providing fast and near-silent autofocus (AF) operations. Though its autofocus speed is average, it allows for manual focus override by simply turning the focus ring at any time.

The manual focus action is smooth, and the lens has an internally focusing design, ensuring a constant lens length regardless of focus and zoom settings. However, the lens exhibits noticeable focus breathing and may produce an audible squeak during focusing.

In contrast, the Sigma 17-70mm lens utilizes a hypersonic motor (HSM) for autofocus, delivering a relatively quiet and noiseless performance. Its focusing speed is also average, but it performs accurately in most situations.

Unlike the Nikon lens, it does not feature full-time manual focus override, and the manual focus ring feels slightly loose and tricky for critical manual focusing. This lens also has an internally focusing design but with minimal focus breathing. However, its front element rotates during autofocus, and the focus ring rotates as well.

Both lenses offer decent autofocus performance, but the Nikon 16-85mm lens stands out for its near-silent AF operations and the convenience of manual focus override. On the other hand, the Sigma 17-70mm lens provides a slightly more accurate autofocus performance in studio conditions but lacks full-time manual focus override.

In conclusion, the Nikon 16-85mm lens offers superior focusing performance due to its near-silent AF operations and the ability to manually override focus at any time. However, photographers should consider their specific needs and preferences, such as the importance of manual focus and the type of photography they engage in, before deciding which lens is more suitable for their requirements.

Optical Stabilization

The Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-70mm f/2.8-4 offer different optical stabilization systems.

The Nikon 16-85mm lens features the second-generation VR II (Vibration Reduction) system, which allows for up to 4 stops slower shutter speeds than the rule of thumb recommends. The system comprises of two modes, normal and active, with the latter being more receptive to camera movement. The VR system is effective in low-light situations and helps produce sharper still shots and smoother video footage. It operates silently.

On the other hand, the Sigma 17-70mm lens features Sigma’s Optical Stabilization (OS) system, which also claims to provide up to 4 stops of stabilization. This system operates silently and effectively stabilizes the viewfinder image. At 70mm, it achieves a good proportion of sharp shots at shutter speeds 4 stops slower with OS turned on, while at 17mm, it offers a solid 3 stops of stabilization. However, the optical stabilizer becomes less effective as you focus closer to your subject.

Although optical stabilization is not as crucial for wide-angle photography, it can be beneficial in specific situations, such as low-light conditions or when recording video.

Both lenses offer effective optical stabilization systems, but the Nikon 16-85mm lens edges out the Sigma 17-70mm with its additional active mode, which is more sensitive to camera movement. This feature makes the Nikon 16-85mm lens superior in terms of optical stabilization.

However, photographers should consider their specific needs and preferences, such as the type of photography they engage in, before deciding which lens is more suitable for their requirements.

Image Quality

Nikon AF-S DX NIKKOR 16-85mm F3.5-5.6G ED VRSigma 17-70mm F2.8-4 DC MACRO OS HSM C Nikon F (DX)
Special Elements2x ED glass elements and 3x aspherical lens elements2 FLD (“F” Low Dispersion) glass elements, 1 SLD (Special Low Dispersion)glass element, 3 aspherical glass lenses including double sided aspherical lens
Diaphragm Blades77
Circular ApertureYesYes

Aberration

The Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-70mm f/2.8-4 exhibit differing levels of aberration control.

The Nikon 16-85mm lens excels in terms of chromatic aberration, providing exceptional control across the zoom range. At its most significant, only about 0.05% of frame height of chromatic aberration is visible at the telephoto end (85mm), and it is practically non-existent between 24mm and 70mm.

The lens effectively controls coma and spherical aberration by utilizing three aspherical lens elements designed specifically to eradicate these types of lens distortions. At 16mm, some field curvature in the extreme corners, and a slight focus shift when stopping down may be noticeable.

In contrast, the Sigma 17-70mm lens shows varying levels of chromatic aberration, with the worst being at 17mm and gradually improving towards longer focal lengths. Lateral chromatic aberration is well-controlled in the focal range of 23-50mm but presents as magenta-green color shifts at the extremes of the focal range. Longitudinal chromatic aberration is not a problem.

Coma is noticeable at 17mm but decreases as the focal length increases. The aspherical aberration is corrected in a good but not perfect way, with no issues with focus shift but defocused light points in front and behind the focus not being identical. The lens performs similarly or slightly worse than its predecessor in terms of spherical aberration and astigmatism, which are both at low levels.

In conclusion, the Nikon 16-85mm lens offers superior aberration control compared to the Sigma 17-70mm lens. Its excellent control over chromatic aberration, coma, and spherical aberration makes it the better choice for photographers looking to minimize lens distortion and achieve sharper images across the entire zoom range.

Sharpness

The Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-70mm f/2.8-4 offer varying degrees of sharpness performance.

Critics routinely laud the Nikon 16-85mm lens for its sharpness, producing exceptional outcomes even at the maximum aperture and in the center of the frame. The lens offers uniform sharpness across the frame, with marginal variations only under specific test conditions, such as at full aperture and when enlarging images.

Corner sharpness is typically impressive, with only slight softness when used wide open at 16mm or 85mm. However, stopping down to f/5.6 or f/8 results in exceptional sharpness across the frame. The optimal aperture for sharpness varies depending on focal length, but generally, f/5.6 or f/8 provides peak performance.

On the other hand, the Sigma 17-70mm lens exhibits impressive sharpness, particularly in the center of the image frame. Center sharpness remains consistently high across various apertures and focal lengths. However, corner sharpness varies depending on the focal length and aperture.

At wide open apertures, the corners tend to be slightly soft, especially at 17mm and 70mm. Stopping down the lens improves corner sharpness, with the best results typically seen between f/8 and f/11. For the sharpest aperture, using the lens at or above f/4.0 is recommended. At 23-50mm focal lengths and apertures between f/4 and f/5.6, the lens produces tack-sharp images.

In conclusion, both lenses offer excellent sharpness performance, but the Nikon 16-85mm lens stands out with its more consistent sharpness across the frame and focal lengths.

Bokeh Quality

When comparing the Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-70mm f/2.8-4 in terms of bokeh quality, they deliver different results.

The quality of bokeh produced by the Nikon 16-85mm lens is somewhat mixed. At 85mm f/5.6, the bokeh is decent for both highlights and general blur, but it does not have any distinctive characteristics.

However, when moving towards 50mm f/5, the blur can be quite busy, with shape shadows and an outlining effect around highlights that is rather unappealing, almost resembling a mirror lens. In typical scenes, the bokeh is usually not very pronounced due to the rather slow maximum aperture, and it can appear harsh at 50mm.

On the other hand, the Sigma 17-70mm lens produces a pleasing bokeh that many users describe as smooth and beautiful. The lens utilizes an iris diaphragm with seven rounded blades, which contributes to its attractive bokeh.

In conclusion, while bokeh quality is not typically a primary concern for wide-angle photography, the Sigma 17-70mm lens offers a superior bokeh quality compared to the Nikon 16-85mm lens. This can be advantageous in environmental portraits or close-up photography, where a pleasing bokeh can add a creative touch and help separate the subject from the background.

Flare/Ghosting

When comparing the Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-70mm f/2.8-4 in terms of flare and ghosting, both lenses exhibit a fairly good performance, with some differences.

The Nikon 16-85mm lens has a decent resistance to flare, with only exceptionally strong light sources in the frame causing any problems. A reasonably deep petal-shaped lens hood is included with the lens, which does an excellent job of preventing extraneous light from causing flare and loss of contrast in images.

However, when shooting against bright lights, the lens may show some flaring artifacts and a loss of contrast, especially when zoomed in. While the lens generally performs well in terms of flare resistance, it is still important to be mindful of shooting conditions to avoid unwanted flaring and loss of contrast.

On the other hand, the Sigma 17-70mm lens generally deals well with flare, even with strong light sources in or just outside the frame. At 17mm focal length and wide open aperture, there can be some noticeable corner shading and light greenish flare opposite the source of bright light.

However, when used close to the maximum relative aperture, flares shouldn’t be very bothersome. Ghosting is also well-controlled, but there are some small greenish artifacts that can grow as you increase the focal length, especially when stopped down.

In conclusion, both the Nikon 16-85mm and Sigma 17-70mm lenses handle flare and ghosting reasonably well, but the Sigma 17-70mm lens has a slight edge in terms of overall performance in this area.

Vignetting

When comparing the Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-70mm f/2.8-4 in terms of vignetting, both lenses display some degree of vignetting, particularly at their widest focal lengths and largest apertures. However, they handle this issue differently.

The Nikon 16-85mm lens shows some vignetting when used wide open at 16mm. Vignetting is a common issue with wide-angle lenses and can be fixed using post-processing software. However, at other focal lengths and smaller apertures, vignetting is well-managed, with only a slight darkening of the corners.

On the other hand, the Sigma 17-70mm lens exhibits some vignetting, particularly at the widest focal length and largest apertures, but this is well-controlled when stopped down. When the lens is used wide open at 17mm, noticeable corner shading can occur in the extreme corners, with a reduction of approximately -2/3EV. However, at any other setting, the shading may be around -1/3EV.

A normal thickness circular polarizer filter can add a small amount of mechanical vignetting at 17mm – even at f/11. At the maximum relative aperture, the vignetting is 27% (-0.90 EV) at 17mm, but this decreases to 10% (-0.30 EV) when stopped down to f/5.6. At other focal lengths, vignetting levels range from 13% (-0.41 EV) to 33% (-1.15 EV) depending on the aperture and focal length. Overall, the lens controls vignetting quite well.

In conclusion, both the Nikon 16-85mm and Sigma 17-70mm lenses exhibit some level of vignetting, particularly at their widest focal lengths and largest apertures. However, the Sigma 17-70mm lens demonstrates better control of vignetting across various settings, giving it a slight advantage in this aspect.

Distortion

When comparing the Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-70mm f/2.8-4 in terms of distortion, both lenses exhibit some level of distortion, with barrel distortion at wider focal lengths and pincushion distortion at longer focal lengths. However, they handle this issue differently.

The Nikon 16-85mm lens displays some distortion, but it is not extreme and can be corrected in post-processing software. Compared to similar zoom lenses, the Nikon 16-85mm lens exhibits relatively low levels of distortion. Although some distortion is present, it is not a significant problem and can be managed effectively.

On the other hand, the Sigma 17-70mm lens shows noticeable distortion, with the distortion being especially pronounced at 17mm, with a barrel distortion of -4.13%. However, the distortion remains relatively uniform across the frame, which makes it easier to correct in post-processing.

In conclusion, both the Nikon 16-85mm and Sigma 17-70mm lenses exhibit distortion at varying focal lengths, with barrel distortion at wide angles and pincushion distortion at longer focal lengths.

While the Sigma 17-70mm lens displays more pronounced distortion at its widest focal length, it remains relatively uniform across the frame, making it easier to correct in post-processing. On the other hand, the Nikon 16-85mm lens has less distortion overall, providing a slight advantage in this aspect.

Final Verdict

In conclusion, the choice between the Nikon DX 16-85mm f/3.5-5.6 and Sigma 17-70mm f/2.8-4 depends on your specific needs, preferences, and budget.

The Nikon 16-85mm lens excels in aspects such as weather sealing, focusing performance, optical stabilization, aberration control, and overall sharpness. It also offers a wider focal range and has less distortion overall.

The Sigma 17-70mm lens, on the other hand, stands out in low light performance, depth of field control, close-up capabilities, bokeh quality, and better control of vignetting. It is also a lighter lens and offers relatively uniform distortion, which is easier to correct in post-processing.

Considering the price difference, with the Sigma 17-70mm being more expensive, you should weigh the importance of each feature and aspect for your photography needs.

If you prioritize weather sealing, focusing performance, and a wider focal range, the Nikon 16-85mm may be the better choice. However, if low light performance, depth of field control, and better macro photography capabilities are more important, the Sigma 17-70mm might be worth the extra investment.

Meet the Author


Wei Mao

Wei was a cruise photographer who worked at Disney Cruise Line. He is a lucky traveler who has been to more than 20 countries with his camera while working on an around-the-world cruise. Photography has changed his view of the world forever. Now he wants more people to benefit from photography through his blog.

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