Sometimes, I want ultra-wide-angle focal length coverage but don't want to carry the size and weight of my full-size zoom lens to meet that need. For those times, I wish I had a compact ultra-wide angle prime lens. Still, the small size and light weight constraints for that lens cannot compromise image quality. The little Sigma 17mm F4 DG DN Contemporary Lens is the answer to that need.
The Sigma 17mm F4 DG DN Contemporary Lens is a member of the now significant Sigma "I Series", full frame "Premium Compact Primes" for mirrorless cameras. These lenses are designed for "photographers who value the experience of taking a picture just as much as the quality of the results." [Sigma]
The 17mm F4 DG DN is the eighth I Series lens reviewed on this site, and the simultaneously announced Sigma 50mm F2 DG DN Contemporary Lens will be number nine. Characteristics of the lenses in this series include small size, light weight, and affordable price. Also consistent with lenses in this series are precision metal build quality, including metal hoods, and excellent image quality, with a useful focal length completing the very attractive Sigma 17mm F4 DG DN Contemporary Lens package.
As adorable as this little lens is, the need for the ultra-wide 17mm angle of view is the first reason to purchase this lens or select it for use. Focal length drives subject distance decisions for the desired subject framing, and the selected distance determines perspective.
When moving back is not an option, 17mm may be a great choice. With even modestly longer focal lengths, you can't move back far enough to fit everything in the frame that 17mm takes in. When you want a foreground subject emphasized, rendered large relative to other subjects in the frame, 17mm is often a great choice.
One of my favorite uses for 17mm is landscape photography. This angle of view takes in a large swath of our beautiful world.
Architecture subjects are frequently large, and fitting large subjects in the frame often requires an ultra-wide-angle focal length. Therefore, photographers chasing architecture will likely find it mandatory to have the 17mm focal length covered.
Real estate is also large, and in the real estate world, larger generally means higher value. With an ultra-wide angle lens, you can make real estate appear larger, using perspective to push the background deeper in the composition, a technique that hopefully generates more walk-throughs that sell more properties. The latter point is what gets both realtors and photographers paid.
In a sense, real estate and architecture are products, and 17mm is useful for some product photography applications, such as vehicle and aircraft interiors.
Extreme wide angles can differentiate your work from the crowd, but care must be taken to create compelling extreme wide-angle compositions. An ultra-wide angle of view pushes the background away, making it considerably smaller in the frame relative to close foreground subjects. Thus, ideal ultra-wide angle uses will incorporate an interesting close foreground subject and a complementary midground, along with a supporting background to complete the composition. The 17mm focal length is extremely useful for landscape photography, and implementing the attractive foreground subject against a beautiful background concept creates stand-out imagery.
All focal lengths are useful for photographing people, but don't let this lens's ultra-wide angle of view tempt you to get too close as it will enlarge noses via perspective distortion. Also, remember that a person closer to the camera can appear much larger than a person farther away. Although this effect may sometimes be desired, use caution when photographing groups at 17mm.
Wedding photographers will love how 17mm captures the entire venue. For example, photograph the bride and groom coming down the aisle, large in the frame, with the rest of the ceremony small in the frame behind them.
This lens is an excellent option for attaching to a remote sports event camera, capturing the start of a race, capturing the finish of a race, covering the goal, mounted over the basket, etc. This lens will also capture the big image of the arena and will work for the overhead shot of the MVP sports figure being mobbed for interviews after a big game. Vlogging and self-recording are good uses for 17mm.
The 17mm angle of view promises to spur your creativity, such as at the quarry graveyeard.
This focal length can produce interesting movie results.
The following images illustrate the 14-35mm focal length range:
The 15, 16, 17, and 18mm focal lengths are not marked on the Canon RF 14-35mm F4 L IS USM Lens used to capture these examples, but the EXIF data reported the focal lengths matching the labels. At ultra-wide angles, a small change in the focal length imparts a big angle of view change.
Utilizing a smaller portion of the image circle means that APS-C sensor format cameras see a narrower angle of view than full-frame models, with 1.5x being the field of view multiplier for Sony's camera lineup. The 17mm APS-C angle of view is similar to 25.5mm on a full-frame camera. While not as ultra-wide angle on the small format imaging sensor, this focal length is excellent for landscape use and has increased portrait photography benefits.
How much light does the lens provide to the imaging sensor? Usually, that question is the second most important when selecting a lens.
The f/4 in the name refers to the maximum aperture, the ratio of the focal length to the entrance pupil diameter, available in this lens. The lower the aperture number, the wider the opening, and the more light the lens can deliver to the imaging sensor. Each "stop" in aperture change (full stop examples: f/2.8, f/4.0, f/5.6) increases or decreases the amount of light by a factor of 2x (a substantial amount).
Because the aperture measurement ratio includes focal length, the focal length must be considered when assessing how wide a lens's aperture can open. At 600mm, f/4 is a massive opening. In a 17mm lens, f/4 is narrow.
With these narrow max apertures, this lens is not a great choice for photographing low-light motion, including the night sky. Setting the ISO to a very high number is the narrow aperture option for sharp low light in-motion images, and the resulting significant noise is an image quality factor.
That said, motion blur is caused by subject details crossing over imaging sensor pixels during the exposure. Although this lens can be used with a very close subject rendered large in the frame, ultra-wide-angle lenses are often used at normal (or even long) subject distances. The low magnification means those subjects' details more readily stay in their pixels, enabling the longer exposures required to compensate for the narrower aperture to still deliver sharp results, free of subject or camera motion blur.
Wide apertures are not always needed, especially at ultra-wide-angle focal lengths. Many uses for this lens require a narrower aperture, such as f/8 or f/11, to keep everything in the frame sharp, and photographers concentrating on landscape, architecture, real estate, etc., may seldom use the f/4 option.
A narrow aperture is detrimental to low light autofocus performance, slowing or inhibiting focus lock.
The key here is that a smaller aperture opening facilitates using smaller, lighter, and less expensive lens elements, and the Sigma 17mm F4 DG DN Contemporary Lens has those attributes.
Narrow apertures increase the depth of field, and wide angles do not strongly magnify any blur that is created. Thus, this lens is not a first choice for blurring the background. Still, this lens focuses so closely that it can create a relatively strong background blur at the minimum focus distance, as seen below.
Note that when recording video, only 1/60 second shutter speeds (twice the framerate) are typically needed (assuming you're not capturing high-framerate slow-motion video), and wide apertures are not often required for this shutter speed in normally encountered ambient lighting.
This lens features a gear-like, 1/3-stop clicked aperture ring that enables a manually selected aperture. The camera controls the aperture setting with the ring in the A (Auto) position. All other settings electronically force the aperture to the chosen opening.
Aside from a slightly more complicated design, I find inadvertent aperture changes the primary disadvantage of this aperture ring. Incorporating a lock for this ring would eliminate that issue, and learning not to grasp the aperture ring when mounting the camera reduces the problem.
The Sigma 17mm F4 DG DN Contemporary Lens does not feature optical stabilization. Fortunately, Sony takes care of that omission with Steady Shot or IBIS (In-Body Image Stabilization) in their mirrorless cameras. In addition to reducing camera shake, the stabilized imaging sensor provides a still viewfinder image, enabling careful composition. Sensor-based AF takes advantage of the stabilized view for improved accuracy.
With no IS switch on the lens, the camera menu must be accessed to enable or disable IBIS, a slight impediment to working quickly, going from tripod to handholding, for example.
Despite being small, light, and affordable, the Sigma 17mm F4 DG DN Contemporary Lens delivers excellent image quality.
This description is easy. At f/4, this lens is sharp across the entire image circle. Stopping down produces little improvement (aside from reduced peripheral shading), and none is needed.
Taking the testing outdoors, we next look at a series of center-of-the-frame 100% resolution crop examples. These images were captured in RAW format using a Sony Alpha 1 and processed in Capture One using the Natural Clarity method. The sharpening amount was set to only "30" on a 0-1000 scale. Note that images from most cameras require some level of sharpening, but too-high sharpness settings are destructive to image details and hide the deficiencies of a lens.
These results look great.
Next, we'll look at a series of comparisons showing 100% resolution extreme corner crops captured and processed identically to the above center-of-the-frame images. The first two sets are from the top left corner of the frame, and the third set is from the bottom left. The lens was manually focused in the corner of the frame to capture these images.
Samples taken from the outer extreme of the image circle, full-frame corners, can be counted on to show a lens's weakest performance, but there is not much weakness showing here. As usual, peripheral shading reduces as the aperture is narrowed.
Corner sharpness does not always matter, but when it does, this lens has that requirement covered.
The 17mm F4 DG DN does not exhibit focus shift, the plane of sharp focus moving forward or backward as the aperture is narrowed (residual spherical aberration or RSA).
A lens is expected to show peripheral shading at the widest aperture settings when used on a camera that utilizes its entire image circle, and this lens's just over 3.5 stops of f/4 corner shading is noticeable. Selecting a 1-stop-narrower aperture reduces the shading by nearly the same amount. Even at f/16, over 2 stops of corner shading remain.
APS-C format cameras using lenses projecting a full-frame-sized image circle avoid most vignetting problems. In this case, the about one-stop of corner shading showing at f/4 may be visible in select images, primarily those with a solid color (such as a blue sky) in the corners.
One-stop of shading is often used as the visibility number, though subject details provide a widely varying amount of vignetting discernibility. Vignetting is correctable during post-processing, with increased noise in the brightened areas the penalty, or it can be embraced, using the effect to draw the viewer's eye to the center of the frame. Study the pattern shown in our vignetting test tool to determine how your images will be affected.
Lateral (or transverse) CA (Chromatic Aberration) refers to the unequal magnification of all colors in the spectrum. Lateral CA shows as color fringing along lines of strong contrast running tangential (meridional, right angles to radii), with the mid and especially the periphery of the image circle showing the most significant amount as this is where the most significant difference in the magnification of wavelengths typically exists.
With the right lens profile and software, lateral CA is often easily correctable (often in the camera) by radially shifting the colors to coincide. However, it is always better to avoid this aberration in the first place.
Color misalignment can be seen in the site's image quality tool, but let's also look at a worst-case example. The image below is a 100% crop from the extreme top left corner of a Sony a1 frame showing black and white diagonal lines.
Only black and white colors should be present in this image. The additional colors indicate a modest presence of lateral CA.
A relatively common lens aberration is axial (longitudinal, bokeh) CA, which causes non-coinciding focal planes of the various wavelengths of light. More simply, different colors of light are focused to different depths. Spherical aberration, along with spherochromatism, or a change in the amount of spherical aberration with respect to color (looks quite similar to axial chromatic aberration but is hazier) are other common lens aberrations to observe. Axial CA remains somewhat persistent when stopping down, with the color misalignment effect increasing with defocusing. The spherical aberration color halo shows little size change as the lens is defocused, and stopping down one to two stops generally removes this aberration.
In the real world, lens defects do not exist in isolation, with spherical aberration and spherochromatism generally found, at least to some degree, along with axial CA. These combine to create a less sharp, hazy-appearing image quality at the widest apertures.
The examples below look at the defocused specular highlights' fringing colors in the foreground vs. the background. The lens has introduced any fringing color differences from the neutrally colored subjects.
The color separation showing is moderately strong for an f/4 lens.
Bright light reflecting off lens elements' surfaces may cause flare and ghosting, resulting in reduced contrast and sometimes interesting, usually destructive visual artifacts. The shape, intensity, and position of the flare and ghosting effects in an image are variable, dependent on the position and nature of the light source (or sources), selected aperture, shape of the aperture blades, and quantity and quality of the lens elements and their coatings. Additionally, flare and ghosting can impact AF performance.
The 17mm F4 DG DN utilizes Super Multi-Layer Coating to combat flare and ghosting, and the low 9-element count is especially helpful in this regard. This lens produced practically no flare effects even at narrow apertures in our standard sun in the corner of the frame flare test, reflecting excellent performance.
Flare effects can be embraced or avoided, or removal can be attempted. Unfortunately, removal is sometimes very challenging, and in some cases, flare effects can destroy image quality. Thus, high flare resistance is a welcomed trait of this lens.
Two lens aberrations are particularly evident in images of stars, mainly because bright points of light against a dark background make them easier to see. Coma occurs when light rays from a point of light spread out from that point instead of being refocused as a point on the sensor. Coma is absent in the center of the frame, gets worse toward the edges/corners, and generally appears as a comet-like or triangular tail of light that can be oriented either away from the center of the frame (external coma) or toward the center of the frame (internal coma). The coma clears as the aperture is narrowed. Astigmatism is seen as points of light spreading into a line, either sagittal (radiating from the center of the image) or meridional (tangential, perpendicular to sagittal). This aberration can produce stars appearing to have wings. Remember that Lateral CA is another aberration apparent in the corners.
The image below is a 100% crop taken from the top-left corner of a Sony a1 image captured at f/4.
There are noticeable wings showing on the corner stars.
This lens has strong (but not extreme as we are commonly seeing at review time) barrel distortion. Most modern lenses have correction profiles available (including in-camera), and the distortion can be corrected using these. Still, distortion correction is destructive at the pixel level as some portion of the image must be stretched or the overall dimensions reduced.
As seen earlier in the review, it is easy to illustrate the strongest blur a lens can create, and wide-angle lenses are inherently disadvantaged in this regard. Due to the infinite number of variables present among available scenes, assessing the bokeh quality is considerably more challenging. Here are some f/11 (for diaphragm blade interaction) examples.
The first example shows defocused highlights filled rather smoothly and relatively evenly shaped. The second example is a 100% crop, and the third example is a full image reduced in size, both appearing normal.
Except for a small number of specialty lenses, the wide aperture bokeh in the frame's corner does not produce round defocused highlights, with these effects taking on a cat's eye shape due to a form of mechanical vignetting. If you look through a tube at an angle, similar to the light reaching the frame's corner, the shape is not round. That is the shape we're looking at in these top-left quadrant crops.
As the aperture narrows, the entrance pupil size is reduced, and the mechanical vignetting diminishes, making the corner shapes rounder.
A 9-blade count diaphragm will create 18-point sunstars (diffraction spikes) from point light sources captured with a narrow aperture. Generally, the more a lens diaphragm is stopped down, the larger and better shaped the sunstars tend to be. Unfortunately, a narrow max aperture lens does not afford much stopping down before reaching apertures where diffraction causes noticeable softening of details, and these lenses typically do not produce the biggest or best shaped sunstars.
The example above was captured at f/16.
"The lens construction consists of two SLD glass elements and three aspherical lens elements. Aspherical lenses are used for both the front and rear optics." [Sigma]
The image quality summary for the Sigma 17mm F4 DG DN Contemporary Lens is dominated by how impressively sharp this lens is across the entire image circle. It is so sharp enough that many will overlook the downsides, primarily strong barrel distortion, noticeable peripheral shading, and moderate color separation. Flare resistance is another strong image quality advantage this lens holds.
Driven by a stepping motor, the Sigma 17mm F4 DG DN Contemporary Lens auto-focuses quickly, smoothly, and accurately. The focusing is internal and very quiet, with only a light "shhhhh" heard during AF.
With adequate contrast on the subject, this lens focuses in surprisingly dark environments. As usual, the focusing speed is significantly slower in low light.
Normal is for the scene to change size in the frame (sometimes significantly) as the focus is pulled from one extent to the other, referred to as focus breathing, a change in focal length resulting from a change in focus distance. Focus breathing negatively impacts photographers intending to use focus stacking techniques, videographers pulling focus, and anyone critically framing while adjusting focus. This lens produces a modest change in subject size through full-extent focus distance adjustment.
The Sigma 17mm F4 DG DN Contemporary Lens features a gear-like metal ribbed focus ring. Located immediately behind the lens hood, the focus ring is easy to find, and it has sufficient size.
Typical for Sigma is that this lens provides a high-quality manual focus experience, with an ideal rotational resistance, smooth movement, no play, and, when turned slowly, a slow rate of adjustment that facilitates precise manual focusing. As hinted, this focus ring has a variable adjustment rate based on the rotation speed. A full-extent focus distance change requires 720° of rotation when turning the focus ring slowly. Turn the ring fast, and only 200° of rotation does the same. The rotation speed difference required to switch to the faster rate is significant enough to avoid inadvertent rate changes.
This lens has a minimum focus distance of 4.7" (120mm), and it generates a significant, especially at 17mm, 0.28x maximum magnification spec.
|Canon RF 16mm F2.8 STM Lens||5.1"||(130mm)||0.26x|
|Sigma 16mm F1.4 DC DN Contemporary Lens||9.8"||(250mm)||0.10x|
|Sigma 17mm F4 DG DN Contemporary Lens||4.7"||(120mm)||0.28x|
|Sigma 20mm F2 DG DN Contemporary Lens||8.7"||(220mm)||0.15x|
|Sigma 24mm F2 DG DN Contemporary Lens||9.6"||(245mm)||0.15x|
|Sigma 24mm F3.5 DG DN Contemporary Lens||4.3"||(108mm)||0.50x|
|Sigma 35mm F2 DG DN Contemporary Lens||10.6"||(270mm)||0.18x|
|Sigma 45mm F2.8 DG DN Contemporary Lens||9.4"||(240mm)||0.25x|
|Sigma 50mm F2 DG DN Contemporary Lens||17.7"||(450mm)||0.14x|
|Sigma 65mm F2 DG DN Contemporary Lens||21.7"||(550mm)||0.15x|
|Sigma 90mm F2.8 DG DN Contemporary Lens||19.7"||(500mm)||0.20x|
|Sony FE 20mm F1.8 G Lens||7.1"||(180mm)||0.20x|
|Sony FE 24mm F2.8 G Lens||7.1"||(180mm)||0.19x|
|Sony FE 40mm F2.5 G Lens||9.8"||(250mm)||0.23x|
|Sony FE 50mm F2.5 G Lens||12.2"||(310mm)||0.21x|
|Tamron 20mm f/2.8 Di III OSD Lens||4.3"||(109mm)||0.50x|
|Tamron 24mm F2.8 Di III OSD Lens||4.7"||(119mm)||0.50x|
|Tamron 35mm f/2.8 Di III OSD Lens||5.9"||(149mm)||0.50x|
A subject measuring approximately 4.0 x 2.7" (101.6 x 67.7mm) fills a full-frame imaging sensor at this lens's minimum MF distance.
The USPS love stamps shared above have an image area that measures 1.05 x 0.77" (26.67 x 19.558mm), and the overall individual stamp size is 1.19 x 0.91" (30.226 x 23.114mm).
This lens produces OK center of the frame sharpness at minimum focus distance with a wide-open aperture but expect the image periphery to be soft due to field curvature. Stopping down 2 or 3 stops markedly improves corner performance, but strong lateral CA remains.
The minimum focus distance is measured from the imaging sensor plane with the balance of the camera, lens, and lens hood length taking their space out of that number to create the working distance. For this lens, a mere 0.6" (15.2mm) of working distance remains at minimum focus distance, and sans hood, the working distance is still only 1.5" (38.1mm). Lighting the subject this close to the lens is challenging.
Because this lens's focal length is so wide and its native minimum focus distance is so short, it is unlikely that even a short extension tube will work with this lens.
This lens is not compatible with Sigma teleconverters.
"All I Series lenses have an all-metal construction. The precision-cut aluminum parts not only give the barrel a sleek, stylish finish, but provide superb durability that improves the quality of the entire product. Metal materials are also used in internal structures that slide with the operation ring for added robustness. These high-precision components crafted with SIGMA's cutting-edge metalworking technology are also used in SIGMA's cine lens line-up for professional cinematographers and provide a tactile, ergonomic feel that make the lens a pleasure to use." [Sigma]
Interesting is that Sigma refers to this product line as the "I Series", while the product name and lens graphics bear no mention of this designation. Regardless, Sigma's description is accurate. This is a well-built lens.
While many current lens designs feature smooth lens barrels, this one goes in the opposite direction, featuring gear-like ribs standing out on the focus and aperture rings, and the cold, solid feel of metal is built in. The look and feel are very different from many other lenses, but this is a great look and feel in its own way.
Just enough fixed barrel surface is provided behind the aperture ring for grip to facilitate mounting to and removal from the camera.
I appreciate that Sigma continues to provide an AF/MF switch on the compact I Series lenses. The AF/MF switch clicks assuredly into position, with a white background showing when the switch is in the AF position.
From a weather sealing perspective, Sigma states, "Mount with dust- and splash-proof structure." Sigma Contemporary lenses feature a mount gasket that protects against dust and moisture, but for affordability purposes, the balance of the lens is not sealed. Sigma claims that "The vast majority of contaminants work their way into lenses through the rear mount, so as long as they aren't abused, these lenses will provide many years of trouble-free use, even in moderate weather. For regular use in more extreme conditions, Art or Sports lenses are the way to go." [Sigma]
Fluorine coating to repel water drops and dust and facilitate cleaning is not applied to the front element.
Sigma I Series lenses are compatible with in-camera lens aberration corrections when used on cameras supporting this feature.
The Sigma 17mm F4 DG DN Contemporary is a compact lens, and despite the metal construction, it is extremely light. With no other 17mm F4 lenses available (aside from the Canon TS-E 17mm f/4 Tilt-Shift lens, this Sigma lens is technically the smallest and lightest in its class (of one). Even if carried all day, this lens will not become a burden.
As direct alternatives to this lens are lacking, I'll include some manufacturer series options.
|Model||Weight oz(g)||Dimensions w/o Hood "(mm)||Filter||Year|
|Canon RF 16mm F2.8 STM Lens||5.8||(165)||2.7 x 1.6||(69.2 x 40.1)||43||2021|
|Sigma 16mm F1.4 DC DN Contemporary Lens||14.3||(405)||2.8 x 3.6||(72.2 x 92.3)||67||2021|
|Sigma 17mm F4 DG DN Contemporary Lens||7.9||(225)||2.5 x 1.9||(64.0 x 48.8)||55||2023|
|Sigma 20mm F2 DG DN Contemporary Lens||13.1||(370)||2.8 x 2.9||(70.0 x 72.4)||62||2022|
|Sigma 24mm F2 DG DN Contemporary Lens||12.9||(365)||2.8 x 2.8||(70.0 x 72.0)||62||2021|
|Sigma 24mm F3.5 DG DN Contemporary Lens||7.9||(225)||2.5 x 2.0||(64.0 x 50.8)||55||2020|
|Sigma 35mm F2 DG DN Contemporary Lens||11.5||(325)||2.8 x 2.7||(70.0 x 67.4)||58||2020|
|Sigma 45mm F2.8 DG DN Contemporary Lens||7.6||(215)||2.5 x 1.8||(64.0 x 46.2)||55||2019|
|Sigma 50mm F2 DG DN Contemporary Lens||7.9||(225)||2.8 x 2.8||(70.0 x 70.0)||58||2023|
|Sigma 65mm F2 DG DN Contemporary Lens||14.3||(405)||2.8 x 3.0||(72.0 x 76.7)||62||2020|
|Sigma 90mm F2.8 DG DN Contemporary Lens||10.4||(295)||2.5 x 2.4||(64.0 x 59.7)||55||2021|
|Sony FE 20mm F1.8 G Lens||13.2||(373)||2.9 x 3.3||(73.5 x 84.7)||67||2020|
|Sony FE 24mm F2.8 G Lens||5.7||(162)||2.7 x 1.8||(68.0 x 45.0)||49||2021|
|Sony FE 40mm F2.5 G Lens||6.1||(173)||2.7 x 1.8||(68.0 x 45.0)||49||2021|
|Sony FE 50mm F2.5 G Lens||6.1||(174)||2.7 x 1.8||(68.0 x 45.0)||49||2021|
|Tamron 20mm f/2.8 Di III OSD Lens||7.8||(221)||2.9 x 2.5||(73.0 x 63.5)||67||2019|
|Tamron 24mm f/2.8 Di III OSD Lens||7.6||(215)||2.9 x 2.5||(73.0 x 63.5)||67||2019|
|Tamron 35mm f/2.8 Di III OSD Lens||7.4||(210)||2.9 x 2.5||(73.0 x 63.5)||67||2019|
For many more comparisons, including numerous zoom lens options, review the complete Sigma 17mm F4 DG DN Contemporary Lens Specifications using the site's lens specifications tool.
It seemed appropriate to create a family photo of this attractive lens series.
Shown above from top to bottom, left to right are the following lenses:
Sigma 17mm F4 DG DN Contemporary Lens
Sigma 20mm F2 DG DN Contemporary Lens
Sigma 24mm F2 DG DN Contemporary Lens
Sigma 24mm F3.5 DG DN Contemporary Lens
Sigma 35mm f/2 DG DN Contemporary Lens
Sigma 45mm F2.8 DG DN Contemporary Lens
Sigma 50mm F2 DG DN Contemporary Lens
Sigma 65mm F2 DG DN Contemporary Lens
Sigma 90mm F2.8 DG DN Contemporary Lens
Keep in mind that the longest lens in that picture is 3.0" (76.7mm).
The same lenses are shown below with their hoods in place.
Use the site's product image comparison tool to visually compare the Sigma 17mm F4 DG DN Contemporary Lens to other lenses.
Not surprising is that a small lens uses relatively narrow filters, 55mm in this case. While lenses that use 55mm are not especially common, three of the I Series lenses, including the 45mm F2.8 and 90mm F2.8 now use this size, making potential the convenience of sharing special effects filters.
Consider the cost and size of a set of 55mm filters compared to the same in 77mm or 82mm, the size commonly used by zoom lenses covering 17mm.
The Sigma petal-type LH576-03 lens hood is included in the box. Designed to physically match the lens body, this hood has a solid, ribbed (inside and out) metal construction. Hoods built for prime lenses, vs. zoom lenses, can be tuned to a single focal length's angle of view, and this hood provides good protection from bright flare-inducing light and from impact.
Sigma does not include a case in the box with this lens.
Along with Sigma's standard (nice) center- and side-pinch lens cap, this lens ships with a very nice aluminum magnetic cap (LCF55-01M). Snapping into place (with no filter installed), the magnetic cap is easy to install, and it stays firmly in place.
Unfortunately, there is no provision to grip the center of the cap, and with inadequate space provided inside the hood to grasp the cap's edges, the hood must be removed to get the cap off. That was enough of a disadvantage for me to put the metal cap back in the box. If you leave your hood in the box (not recommended), you'll love the magnetic lens cap. The optional Sigma CH-11 Magnetic Cap Holder provides a simple method of attaching the lens cap to a camera bag, etc., via a carabiner.
The L-Mount version of this lens is compatible with the optional Sigma USB Dock UD-11 that includes support for linear MF adjustment.
Sigma's name has become synonymous with good value, and Sigma's I Series lenses continue that legacy. This lens is an outstanding performer, is strongly constructed, incorporates a great design, and is quite affordable.
The "DG" refers to full-frame camera compatibility, and the "DN" indicates that this lens was designed for short-flange mirrorless cameras. The Sigma 17mm F4 DG DN Contemporary Lens is compatible with all Sony E-mount cameras, including APS-C sensor format models, and it is also available in the L mount (Sigma, Panasonic, Leica).
Made in Japan, each Art lens is tested with Sigma's proprietary MTF measuring system, ensuring a quality product. Regarding the Sony E-mount version of this lens, Sigma develops, manufactures, and sells lenses based on the specifications of the E-mount, disclosed by Sony Corporation under license agreement.
Sigma provides a 1-year limited warranty, and Sigma USA provides a limited 3-year warranty extension.
The reviewed Sigma 17mm F4 DG DN Contemporary Lens was on loan from Sigma Corporation of America.
As mentioned before, there is no direct alternative to the Sigma 17mm F4 DG DN Contemporary Lens as I write this review. Add the zoom lenses covering 17mm into the comparison field, and the list of options is large. Thus, I'm going to suggest using the site's tools to create the comparisons relevant to your needs.
If you are looking for a small, light, well-built, affordable lens that produces very sharp images and the 17mm focal length's angle of view works for you, the Sigma 17mm F4 DG DN Contemporary Lens has your name on it.
This little lens features metal interior and exterior construction, creating a solid build quality and increasing the fun factor for use.
In addition, this lens produces sharp corner-to-corner wide-open imagery. Strong Peripheral shading (not unusual for this focal length) and barrel distortion are the primary image quality detractors, but excellent flare avoidance is featured.
The price is quite attractive for the overall quality and features of the Sigma 17mm F4 DG DN Contemporary Lens, and the 17mm focal length ensures plenty of opportunities for use, increasing the value of the lens.
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